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

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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

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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

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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
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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."

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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

preliminary explanation

before i really begin the project i have a few scatterings
of thought that made me do this, without real planning,
a different sort of impromptu that poetry's good at,
less Dionysian spur-of-the-moment with an already
completed poem entwined to a perfect ensō,
as quick as the decapitation of Mary Boleyn with the
executioner fooling her which side the swing would
be cast by taking of his hard-soled-shoes -
i mean this in an Apollonian sense - i know, sharp contrasts
at first, but the need to fuse them - i said these are
preliminary explanations, the rest will not be as haphazardly
composed, after all, i see the triangle i'm interested it
but drawing a triangle without Pythagorean explanation
i'm just writing Δ - i'll unravel what my project is
about, just give me this opportunity to blah blah for a
while like someone from an existential novel;
what beckoned me was the dichotomy of styles,
i mean, **** me, you can read poetry while in an awkward
yoga position, you can read it standing up, sitting down,
eating or whatever you want - obviously on the throne
of thrones taking a **** is preferred - the point being
what's called serious literature is so condensed for
economic reasons, font small, never-ending paragraphs,
you need an easy-chair and a bottle of cognac to get
through a chapter sometimes - or at least freshly mowed
grass in a park in summer - it's really uncomfortable because
of that, and the fact that poets hardly wish upon you
to be myopic - just look at the spacing on the page,
constantly refreshing, open-plan condos, eye-to-eye -
but it's not about that... the different styles of writing,
prose and the novel, the historical essay / encyclopedia
or a work of philosophy - what style of writing can
be best evolutionary and undermine each? only poetry.
poetry is a ballerina mandible entity, plastic skeletons,
but that's beside the point, when journalism writes history
so vehemently... the study of history writes it nonchalantly,
it's the truth, journalism is bombastic, sensationalist
every but what courting history involves -
a journalist will write about the death of a 100 people
more vehemently than a historian writing about the Holocaust...
or am i missing something? i never understood this dichotomy
of prose - it's most apparent between journalism and history...
as far as i am concerned, the most pleasurable style of
prose is involved in the history of philosophy, or learning per se,
but i'll now reveal to you the project at hand -
it's a collage... the parameters?

the subject of the collage

it weighs 1614 grams, or 3 lb. and 8 7/8ths oz.,
it's a single volume edition, published by Pimlico,
it's slightly larger than an A5 format,
3/4 inches more in length, and ~1 centimetre in
width more, it has a depth of 1 and 3/4 inches in depth,
a bicep iron-pumping session with it in bed -
i was lying with this behemoth of a book
in bed soothing out a semi-delirium state
listening to Ola Gjeilo's *northern lights
and flicking through the appendix, and i started thinking,
no would read this giant fully, would they?
the reason it's a one volume edition is because
the only place you'd read such an edition would
be in a library, at a desk, and you'd be taking snippets
out from it, quotes, authentic references points
for an essay, esp. if you were a history student,
such books aren't exactly built for leisure, as my arms
could testify... after the appendix i started flicking
through as to what point of interest would spur me
onto this audacious (and perhaps auspicious)
act of renegading against writing a novel (in the moment,
in the moment, i can't imagine myself rereading plot-lines
after a day or two, adding to it - that's a collage too,
but of a different kind - and no, i won't be plagiarising
as such, after all i'll be citing parallel, but utilising
poetry as the driving revision dynamic compared
to the chronologically stale prose of history) - i'll be
extracting key points that are already referenced and not
using the style of the author - the book in question?
Europe: a history by Norman Davies prof. emeritus
at U.C.L. - the point of entry that made me mad enough
to condense this 1335 page book (excluding the index)?

point of incision

Voltaire (or the man suspected of Guy Fawkes-likes spreading
of volatility in others) -
un polonais - c'est un charmeur; deux polonais - une
bagarre; trois polonais, eh bien, c'est la question polonaise
(one pole - a charmer, two poles - a brawl, three poles -
the polish question) - mind you, the subtler and gentler
precursor of the Jewish question, because the Frenchman
mused, and not a German, or a Russian brute...
and i can testify, two Polish immigrants in a pub,
one senior, the other minor, one with 22 years under
his belt of the integration purpose, one with 12 years,
the minor says to the senior about how Poles bring
the village life to cities, brutish drunkards and what not,
it was almost a brawl, prior to the senior was charming
a Lithuanian girl, before the minor's emphasis on
such a choice of conversation turned into idiotic Lithuanian
nostalgia about the disintegration of the Polish-Lithuanian
commonwealth, primarily due to the Polish nobility.

10,000 b.c.

looking that far back i don't know why you even
bother to celebrate the weekend -
i mean, 10,000 years back Denmark was
still attached to Sweden,
England was attached to France,
and there was a weird looking Aquatic landmass
that would become a myth of Atlantis
in the Chronicles of Norwich,
speedy ******* Gonzales with the equivalent
of south america detaching itself from Africa...
mind you, i'm sure the Carpathian ranges are
mountains. they're noted here are hills or uplands,
by categorising them as such i'm surprised
the majority of Carpathian elevations as scolded
bald rocky faced, a hill i imagine to have some
vegetation on it, not mountain goats with rock and roof
for a blacksmith in a population of one hundred...
at this point Darwinism really becomes a disorientating
pinpoint of whatever history takes your fancy,
Europe - mother of Minos, lord of Crete,
progenitrix / ******* and the leather curtains
of Zeus's harem (jealous? no, just the sarcasm
dominates the immortal museum of attachable
****** to suit the perfect elephant **** of depth
the gods sided with, by choice, excusing the Suez
duct tightening of a prostate gland... to ease the pain
upon ******* rather than *******); mentioned by Homer
the Blind tooth-fairy, the Europe and the bull,
Europoeus and the swan, same father of wisdom to mind,
on the shores of Loch Lomond -
attributes a lover to the bull, Moschus of Syracuse,
who said earring Plato cured him of where the ****
should not enter even if it shines a welcome
in the disguise of Dionysius... revisionists bound to Pompeii
named Titian, Rembrandt, Rubens Veronese
and Claude Lorrain revived the bulging bull's *******
and her mm hmm mm, too gracious my kind, hehee...
Phonecians from Tyre and Io - so too the Sibyl of ****** -
and unlike the great river civilisations of the Nile,
the Ganges, soon to be the Danubian civilisations
and gorged-out-eyes-that-once-sore-colour-but-lost-sight-of-
colours-­after-seeing-the-murk-of-the-Thames...
soon the seas overcame civilisations of the rivers,
as Cadmus, brother of the thus stated harlot said:
i bring you orbe pererrato - hieroglyphics of the cage,
but not an owl or a hawk inside it -
so let's perfect speaking to an encoding by first
rummaging into learning how to procure the perfect
forms of counting - i say left, you say I, i say right
you say II, left right left right, what do you say?
VI. bravo! the Hellenic world just crossed the Aegean
and civilisation bore twins within the cult of a lunar-mother,
Islam of Romulus and Remus, a she-wolf
a canine of the night - according to another -
tremulae sinuantur flamine vestes - or so the myth goes -
a cherished phantom of what became the fabled story
of sole Odysseus with his ears open and the remnant
sailor's ears waxed shut - as if the bankers of this world,
revelling in culprit universal fancy than nonetheless
bred the particular oddities - lest we forget,
the once bountiful call of the sirens to the oceanic
is but a fraction of what today's sirens claim to be song,
a fraction of it remains in this world, the onomatopoeia
of the once maddening song, the crude *******
arrangement of vowels bound to the jealous god's
déjà vu of the compounding second H.

from myth to perpetuating a modern sentiment

you can jump from 10,000 b.c. to the Munich Crisis
of 1938 - 9 with a snap of the fingers,
imitating quantum phenomenons like gesticulating
a game of mime with Chinese whispers necessary,
if Europe is a nymph, Naples her azure eyes,
Warsaw her heart, Sebastopol and Azoff,
Petersburg, Mitau, Odessa - these the thorns
in her feet - Paris the head, London the starched collar,
and Rome - the sepulchre.
or... die handbuch der europaischen geschichte
notably from Charlemagne (the Illiterate)
to the Greek colonels (as apart from Constantine to
Thomas More in eight volumes, via Cambridge mid
1930s)... these and some other books of urgency
e.g. Eugene Weber's H. A. L. Fisher's, Sr. Walter Ralegh,
Jacob Bronowski... elsewhere excavated noun-obscurities
like gattopardo and konarmya had their
circas extended like shelved vegetables in modern
supermarket isles, for one reason or another...
prado, sonata sovkino also... some also mention
Thomas Carlyle (i'd make it sound like carried-away isle,
but never mind); so in this intro much theory,
how to sound politically correct, verifiable to suit
a coercion for a status quo... Europe as a modern idea,
replacing Imperum Romanun came Christendom,
ugly Venetian Pirates at Constantinople,
Barbarossa making it in pickled herring juice
in a barrel to Jerusalem... once called the pinkish-***-fluff
of Saxony, now called the pickled cucumber,
drowning in his armour in some river or Brosphorus...
alchemists, Luther and Copernicus were invited on
the same occasion as the bow-tie was invented,
apparently it was a marriage made for the Noir cinema,
beats me - hence the new concept of Europe,
reviving the idea of Imperium Romanun
meant, somehow including Judea in the Euro
championship of footie gladiator ***** whipped
narcissists, rejecting the already banished Carthage
(Libya / Tunisia by Cato's standards) and encouraging
the Huns, the Goths and the even more distant Slavs and
Vikings to accept not so much the crucifix as
the revised spine of the serpent but as the geometry of
human limbs, well, not so much that, but forgetting
Norse myths of the one-eyed and the runic alphabet
and settling for ah be'h c'eh d'ah.
dissident frenche stink abbe, charles castel de st pierre
(1658 - 1743) aand this work projet d'une paix perpetuelle
(1713) versus Питер Великий who just said:
never mind the city, the Winter Palace... i have aborted
fetus pickles in my bedroom, lava lamps i call them.
the last remaining reference to Christianity?
Nietzsche was late, the public was certain,
it was the Treaty of Utrecht, 1713, with public reference
to the republica christiana / commonwealth was last made.
to Edmund Burke: well, i too wish no exile
upon any European on his continent of birth,
but invigorate a Muslim to give birth on it
and you invigorate an exile nonetheless:
Ezra expatriate Pound / sorry, if born in eastern
europe a ***** Romanian immigrant, pristine
expatriate in western Europe, fascist radio has
my tongue and *****, so let's play a game:
Russian roulette for the Chinese cos there's
a billion of them, and no one would really mind
a missing Chow Mein... chu shoo'ah shaolin moo'n'kah!
or a cappuccino whenever you'd like to watch
classic Italian pornographic cinema with dubbing
with nuns involved... Willaim Blake and his
stark naked prophesy, pope pius II (treatise 1458)
even though Transylvania, Tharce and Hungary
shared the same phonetic encoding with diacritical
distinctions like any Frenchman, German,
or Pole at the Siege of Vienna (1683)
to counter the antagonising Ottoman - i swear historians
do this one purpose, juggle dates and head-of-state figures
prior to entering a chronology - they must first try out
a ******* carousel before playing with the toy-train...
broadcasting to a defeated Germany public, T. S. Eliot
(1945) ****** import to into Western Germany
and talk of the failing moral fabric, China laughing
after the ***** intricacies of warfare of trade,
what was once wool we wished to be silk...
instead of silk we received vegetarian wool, namely
hemp, and Amsterdam is to blame... nuke 'em!
that's how it sounds, how a historian approaches
writing a history from the annals, from circa and
circumstance and actual history, foremost the abbreviations,
the fishing hook standards, the parameters,
the limits, and then the mathematics of history,
one thing culminating into another... contra Lenin
N. S. Trubetskoy, P. N. Savitsky, G. Vernadsky
Russian at the perks of the Urals - steppe Tartar shamans
or salon pranced pretty **** boys? where to put
the intoxicant and where to put the mascara... hmm,
god knows, or by 21st calculations, a meteor;
they say the history of nations is a history of women,
then at least the history of individuation
and of men who succumb to its proliferation
is astoundingly misogynistic.
Seton-Watson, among the the tombstones too reminded
of remarkable esteem and accomplishment
with only one gravedigger to claim as father...
as many death ears as on two giraffe skeletons
stood Guizot, men of many letter and few fortunes,
or v. v., incubators of cousin ***** and none the kippah
before the arrogant saintly diminished to
a justly cause of recession, ha ha,
by nature's grace, and with true advent of her progression
as guard-worthy pre- to each pro-
and suggested courteous of the ****** fibre,
oh hey, the advent of masqueraded woofing,
a Venetian high-brow, and jealousy out of a forgotten
spirit of adventure that once was bound
to hunting and foraging... forever lost to write  history of
a king dubbed Louis the XIV...
crucibles and distastes for the state to be pleased,
once removed from Paris, forever to Angevin womb
accustomed once more, at Versailles released -
as cake be sown so too the aristocratic swan necks
for worth of mock and scorn - and the dampening rain
rattle the blood-thirst of the St. Bartholomew's Day
slaughter, to date, the rebirth of Burgundy,
of Anjou, and with the dead king presiding, to be
of no worth in judging himself a king before god or pauper...
saluer Antoine Quentin Fouquier-Tinville!
that i might too in stead rattle a few bones prior to burial
with the jaw that will laugh and chatter least
had it been to my kingly-stead a birth so lowly.
then at least in satisfactory temperament i procure a
judgement of the noble like of a *****
for an hour's worth of pistons and jarring tongues...
as if from a nobleman then indeed as if from a *****,
for who sold Europe and said: Arabia, if not the
Frenchman, the Englishman, the Spaniard?
the former colonial conquests served you not enough?
i imagine the reinstatement of Israel like
the Frankish states under Philippe-August...
precursors to a cathedral dubbed Urban the 2nd's..
there were only Norwegian motives in the Ukraine
and the black sea... Israel to me is like plagiarism
of the Frankish states of the middle-east, with Europe
slightly... oom'pah loom'pah mongolian harmonica.
some said Rudyard Kipling poems,
some said Mr. Kipling's afternoon tea cakes -
whichever made it first on Coronation St.
some also say the Teutonic barbecues -
it was a matter of example to feed them hog
and cannibalise the peasants for ourselves,
a Prussian standard worth an army standard of
rigour - Ave Maria - letztre abendessen nahrung -
mein besitzen, wenn in die Aden, i'd be the last
talking carcass...
gottes ist der orient!
gottes ist der okzident!
nord - und sudliches gelande
ruht im frieden seiner hande.
germany's lebensraum, inferiority and classification,
inferior slavs and jews, genetics and why my
hatred of Darwinism is persistent, you need
an explanatory noting to make it auto-suggestive
for Queen & Country? diseased elements,
Jewish Bolshevism, Polish patriotism,
Soviets, Teutons, the grand alliances of 1918
or 1945? Wilsonian testimony of national self-determi

Limutin na ang mundo
Forget the world
And its intricacies
Your abusive father
Your good-for-nothing frenemies
Let go of the earth
Reach for the uncertainties

Nang magkasama tayo
I'll be here holding your hand
Reading your fears
In the lines of your palm
While feeling your taken risks
In the spirals of your fingertips

Sunod sa bawat galaw
Let me take the lead
Follow my steps
As we waltz off
From our consciousness
to the chains of the world

Hindi na maliligaw
We'll never be lost
When all miseries will be unknown
Or at least, we'll be lost
In all that is ours

Mundo'y magiging ikaw
*You will be my world
And I hope I'll be yours too

I want to make myself feel
The things I did when I was young
Like the first time I realized the vast world
And didn’t mind that I felt small

Now everything’s racing so fast
Forced to feel like it takes effort to breathe
Forgetting to just look, to just admire
Unable to breathe in the pretty intricacies

Growing up and out is beautiful in its own
But I’m losing the insight into the small
Pushing to pry open my eyes
Trying to see the flowers, the sea, the stars

I was naïve with my mind’s eye for the world
I threw myself into everything with all of myself
Not knowing how hurt I’d come out
Unaware of how it changed me

Unquestioning, I believed those I trusted
I wanted to feel sought after and they provided it
I took what they said as truth in exchange for love
Later, I realized the love was as conditional as the rules they gave

I felt led on with their fake smiles and avoiding answers
The answers trying to convince to their side
Only led me to question further
Why I gave into their insincere smiles

I’m a little more grown, now closing my eyes, experiencing again
How I felt before, how I changed little details of myself
Remembering how I’ve hurt and learned
I still wish I loved like I did when I was sixteen

(with poems from the Chinese translated by Arthur Waley)

My bed is so empty that I keep on waking up.
As the cold increases, the night-wind begins to blow.
It rustles the curtains, making a noise like the sea:
Oh that those were waves which could carry me back to you!

Suddenly she was awake. She could feel a cool breeze on the cheek that wasn’t warm on her pillow. She could smell the damp fields, the waterlogged moorland and the aftermath of recent rain. The action of rain on wood or stone seemed to release particular vapours wholly the province of the night in a small town. There was also the not entirely welcome residue of the past evening’s cooking from the kitchen below. But such sensory thoughts were overwhelmed by the rush of conversation clips; these from a day of non-stop voices that had invaded and now occupied her consciousness. She had listened furiously all day, often fashioning questions as the listening proceeded, keeping it all going, being friendly and wise and sensible and knowing. She could hear her tone of voice, her very articulation in the playback of her memory. It was so difficult sometimes to find the right tone, that inflection suitable to different aspects of ‘talk’. She didn’t want to appear pompous or too serious. That would never do. The thing was to be light, but intelligently light so her colleagues would say to one another – ‘Helen is a treasure you know: brilliant person to have on the team. You can always rely on her. ’ She knew she was often anxious for approval, for a right recognition of her efforts, to be thought well of. ‘Doesn’t everybody?’ she thought wistfully.

There was a momentary flurry of what Helen often dreaded when she found herself awake at night – yesterday’s embarrassing moments. These invariably began with ‘Am I wearing the right clothes?’ It was Caroline’s jacket that came to mind first. That mix of informal but simply smart that can only be bought with serious time and a clear conscience with the credit card. Her favourite blue affair (mail order) with big pockets and the slight pattern on the hem suddenly seemed very ‘last year’. Anna had chosen all-over black, loose trousers with a draw string, no jewellery, but flashy sandals and make up. She’d painted her toenails green. Helen did make up – a little, but not to travel in. She knew she had the right shoes for a long day. Then, those first conversations with Paul, who she’d never talked to outside a meeting before. ‘Keep it light, Helen’, she’d say, ‘Don’t say too much – but then don’t say too little.’ She had found herself – her independent womanly self, speaking with an edgy tone she didn’t always feel happy about. As she spoke to Paul about the coming evening’s football – he’d brought it up for goodness sake – she found herself being funny about the inconsequence of it all, then remembering the passion with which people she knew and loved followed the intricacies of this sport. She saved an own goal with some comment about the game’s social significance she’d picked up off some radio interview.

As the long journey had proceeded she’d been able occasionally (thankfully sometimes) to fall into observation-only mode. There was this sorting of images into significant, memorable, able to forget about, of no consequence at all. She’d been caught by the strange geometry of yellow cones that seemed stitched onto the rain-glistening road surface. There had been a buzzard she’d glimpsed for a moment, a reflection of Sally in the window next to her seat, that mother and her new born in the Ladies at the services, the tunnels of dripping greenery as the coach left the motorway for the winding minor roads, then the view of a grey tor on distant moorland followed instantly by the thought of walking there with her sketchbook, her camera and his loving company, with his admiring smile as he watched her move ahead of him on the path; she knew that behind her he was collecting her every movement to playback in his loneliness when they were apart.

Oh how she wished for his dear presence in this large half-cold bed, as the dark of night was being groped by dawn’s grey. There and there, and now the pre-dawn calls of local birds before that first real chorus of the dawn-proper began. She thought of them both on their last visit to this ancient countryside, being newly intimate, being breath-takingly loving, warm together for a whole night, a whole day, a whole night, a whole day . . . the movies in her mind rolled out scenes of the gardens they’d visited, the opening they’d attended, all that being together, holding hands, sitting close together, sitting across from each other at restaurant tables (knees touching), always quietly talking, always catching each other’s glances with smiles, and his gentle kisses and slight touches of the hand on the arm. She began to feel warm, warm and loved.

As she was drifting back into a shallow sleep she remembered his voice recite (in the Rose Walk at Hestercombe) that poem from the Chinese he loved . .

Who says
That it’s by my desire,
This separation, this living so far from you?
My dress still smells of the lavender you gave:
My hand still holds the letter you sent.
Round my waist I wear a double sash:
I dream that it binds us both with a same-heart knot.
Did you not know that people hide their love,
Like a flower that seems to precious to be picked?

.how did the political "debate" ever become surmount to include musicians? from what i've seen? of the KEXP radio session...  Ashish Vyas had the most fun from the session... i always admired the bass players more than those ****-offs running out of rhythm guitar sessions... bass, a tier above the drums... masturbator-grand-master-soloist... i guess this is one of those nights where i drink more than i write... elephant's ******* choking me to come... oh well... not even a Decalogue will save me... the political art is no art to begin with, curtains... all i'm seeing if curtains... and households filled with retired personel... and curtains... curtains but not blinds... it's abhorrent to have to listen to music with hushed bass guitar... notably metallica... apart from devil's dance and... where's the bass guitar? the rhythm guitar section overpowers the music... fine fine, have your solo *******, but don't silence the bass guitar with the rhythm guitar, i need to hear the drums translated via the bass guitar into the rhythm guitar... solo guitar and vocals all you want... it's like... the lessons to be learned from jazz, when all the fire prime instruments are allowed to solo... went, "missing"... i need the bass, man... frantic bass & drum genre type of music will not do lollipops for me... what was the alternative? dub-step? well... vex'd & distance... burial... who were the others? i don't remember... don't make me cite skrillex: white privelege man! yeah... at least with rabbit teeth missing, doing that well known party trick! i don't like bands that have a knack at an over-emphasis of the rhythm guitar, who neglect the bass guitar... it's so counter the jazz-inheritance... tool: grand bass, red hot chilli peppers, silverchair... i need that smoothing out layer of sound that manifests itself in a bass... a layer of sound just below the rhythm guitar and a tier above the base (not bass) of the african drum borrow... bāß... base (not bass)... yes, it's not supposed to look pretty: a phonetic antithesis... as most "things" in english...

             mind you... did i mention how heidegger
has a foot in the door?
       oh... i didn't? did i?
     the reflexive and the reflective quadratic...
the reflex of conscience "vs."
the reflectiveness of consciousness...
       heidegger:
                  language - only if speech has acquired
the highest univocity of the word does it become
strong for the hidden play of its essential
   multivocity (as withdrawn from all "logic"),
of which poets and thinkers alone are capable,
in their own respective modes and their own
directions of sovereignty.

  of the few lyrics i've entertained these passing
"days"?
             the black keys: lonely boy -
              i got a love that keeps me waiting...
borrowing from Kafka i guess:
      in that case, i’ll miss the thing by waiting for it.
   no?
   guess there's no "oops" where these words
come from...
              
    with the "passive" circumstance of the faculty
of memory...
                two tiers of memory:
the reflexive memory type,
the scholastic rubric type...
  1 x 4 = 4, a + b + a +c + u + s = instrument =
counting... etc.,
            that's the reflexive memory type...
a scholastic rubric...
      dyktando...
but memory also occupies
the reflective parameters...
          which involve personality...
a sort of memory dissociated from schooling,
and more, associated with:
disinhibiting any chances of succumbing
to dementia's grinding machine
of the mortal circus...

  the reflexive memory storage bank is
the buffer...
the "placebo": nay... the safety mechanism...
but... too much education,
too much pointless education,
and the erosion of the reflective memory
storage bank: this is not a buffer,
this is not a something equipped with
a "safety mechanism"...
        given that a self is perpetuated
within the confines of
a constant conflict with the "self"...
   a and italics / the and "ambiguity commas"...

well, there's always a place to start...
i find of like philosophy as being
a rigour associated with a satisfactory
form of vocab.,
       namely?
i can use the associated words bound
to a sentence with confidance...
unlike a ****** fiction writer,
sometimes dabbling into loan words
from a thesaurus, to, invoke:
an intelligence superiority...
  don't worry...
  when people lend themselves
to use a thesaurus, having exhausted
their adjective knowledge... it shows...

come on... a background in chemistry nouns?
3,5-methylhexane... you think?
that's the remains of a saxon past in english...
in chemistry...
germans spell like dr. faustus to begin with,
they, compound...
        the remains of a germanic past in
the current state of english shrapnel still
lives... in chemistry...
        hydrocarbons...
                  usually met with a hypen:
hydro-carbons...
       siebentausendzweihundertvierundfünfzig
(7,254)...
well, very german: what a waste of not employing
punctuation marks (', -) when it came
to the caterpillar 189, 819:
methionylthreonylthreonylglutaminylarginyl...isoleucine,

Me­thionylthreonylthreonylglutaminylarginyltyrosylglutamylserylleucy­lphenylalanylalanylglutaminylleucyllysylglutamylarginyllysylgluta­mylglycylalanylphenylalanylvalylprolylphenylalanylvalylthreonylle­ucylglycylaspartylprolylglycylisoleucylglutamylglutaminylserylleu­cyllysylisoleucylaspartylthreonylleucylisoleucylglutamylalanylgly­cylalanylaspartylalanylleucylglutamylleucylglycylisoleucylprolylp­henylalanylserylaspartylprolylleucylalanylaspartylglycylprolylthr­eonylisoleucylglutaminylasparaginylalanylthreonylleucyl arginylalanylphenylalanylalanylalanylglycylvalylthreonylprolylala­nylglutaminylcysteinylphenylalanylglutamylmethionylleucylalanylle­ucylisoleucylarginylglutaminyllysylhistidylprolylthreonylisoleucy­lprolylisoleucylglycylleucylleucylmethionyltyrosylalanylasparagin­ylleucylvalylphenylalanylasparaginyllysylglycylisoleucylaspartylg­lutamylphenylalanyltyrosylalanylglutaminylcysteinylglutamyllysylv­alylglycylvalylaspartylserylvalylleucylvalylalanylaspartylvalylpr­olylvalylglutaminylglutamylserylalanylprolylphenylalanylarg inylglutaminylalanylalanylleucylarginylhistidylasparaginylvalylal­anylprolylisoleucylphenylalanylisoleuc…

or just read the end of james joyce's ulysses
or jean-paul sarte's iron in the soul...
you do have to insert shrapenl punctuation
into this word...

but these are the last remains of the english language
being associated with a germanic origin:
compounding words...
             esp. in chemistry...
                

as any drunk would state,
to suffice...

    what was it that the luftwaffe
prescribed for the night raids
on London?

   and what did isis fighters
be prescribed?

    amphetamines?
n'oh!
   (minus the extended omega:
oooooo enough time
for a katy perry song,
an afternoon shower,
a slap in the face,
and then a few punches,
hey, jerking off became
boring)...

   so the british,
and a few polacks doing their
r.a.f. bit beat the germans
because?
   oh... **** no...
they were ingesting
an impediment factor,
durg, ****,
drunk, numb-skulled...

    we're talking counter
measure to the "enchanced"
mensch...
    high on amphetamines...
insomniac, but still going...
i guess the loci of
the amphetamine adventure
had to relocate to the anti-ego
focus of the phallus
in the variation of viagara...

****...
i care more for my giggles
and a friar tuck physiognomy...
seriously...
   it's more important than mere
gymnastics of
a freudian "metaphor"...
  ha ha...
   i guess conversation is
also allowed...
   try keeping that up...
given that most men are
******* into a solipsism...

     date nights... m'ah ah ha ha ha...
i figured that i don't
need french intellectuals to
redefine absurdity,
or german philosophers
to "redefine" existentialism,
i just needed to leech
off an nativistic english
"public"...

                      what the ruling
class spews:
   i reinterpret...
                  simple, 1 + 1 = 2...
crux, numbers,
   bounce back...
echo...
     compliment to the language...
as i stood in the shower thinking...
well isn't modern gaming
slightly "ingenious"...
money piggy...

or... reversed...
    provided the unlimited time
of experience...
no constraints,
just a game within a game,
like sims 3: making a sim
play a video game...
wormhole paradox
      and a brain shattering moment,
a jolt,

         these modern "free" games?
well... at least if you
do not invest in them,
are... games mostly associated with
time...
time is the game...

   whoever gets ****** into
the money laundering schemes
of these games,
forgot to read the cheat walkthroughs
akin to final fantasy VII,
because of homework,
and... Saturday mornings.

   **** air guitar:
here's to air drumming to posit
a point...

          the allies drunk their pint
of whiskey, slightly debilitated,
without the circumstance of feeding
a feeling of superiority,
the germans over-inflated
their superiority complex with
amphetamines...

         ergo?
    i'm either proper drunk, or just plain dumb,
or... it's related to listen, repeat,
listen, repeat: katy perry
  (sucker for POP!)....

      never mind...

games used to be fun,
games used to lead to a completion,
tenchu, that was fun,
final fantasy VII...
but this current,
money-sucker of an experience?
well... sure...
now games have reached
an anti checkmate conundrum
which it is...
because, the games are "free"...

           apparently time,
is perceived as a non-commodity...
tell that to someone stuck
in traffic...
      time: the "elder" flimsy
              construct of relativism...

try not giggling
while exchanging whislting to
either the british grenadier march song,
and the french la marseillaise...

   it's like eating pork liver with onions
fry funny...
    or at least a stew of chicken
hearts... tight tender little *******...

but modern gaming is just that...
ingenious counter measure
to the old school variation
of gaming,
    games... without fiction,
games, without script...
    continued perpetuation
of engagement "syndrome"...

     thank god,
i'm pretty sure that if i went beyond
owning a PS1,
i wouldn't have spotted this,
and have a narrative subsequently,
for the worth any sort
of compromise...

ergo? i drink...
   eh... i need to dumb down...
it wouldn't be fair otherwise...
it's not so easy,
to acquire a culture,
a psychology,
a mentality,
   and then...
     to ****... (grimmace, burp,
         snigger) it all away...

**** me, the flute always
gets me...
          i mean...
every time i hear that flute...
my feet at rambling,
itching to tap along...

   well of course it wasn't
the ******* jazzy clarinet,
was it?!
  tell that to the broad
who perfect a *******...
see if she comes back
as smart,
as smart to comply with
the intricacies
of playing, the ******* clarinet.

p.s.
aud lang syne: the only song,
of all time...
shakespeare seems
pale by comparison,
"side-note"...

          broad vs. brode,
******* giggles in the afternoon.

.oh yeah... chris isaak's: wiucked game - plenty of "facts" went into taping as many covers as the song spontaneously made replica... so many objective "facts"... too many to count... when will certain subjective taboos be recognized and other, objective "truths" be denied?! how long must humanity be obliged to secure the argument by "confusion" be deemed liberation as necessarily-arguing the case of confiscatory material? what?! my grammar is bad? if my grammar is so ******* bad... ask someone from Rotherham!

.i tend to forget that people have this, collective amnesia regarding subjectivity, somehow they only associate it with news spew... they vaguely recognize an old widow walking from a surgery to a bust stop, stopping my a lavender bush, to pick a few flowers off of it... like some quasi Notre Dame hunchback... joyous that she bypassed all the ghost souls on the "waiting list" of an English doctor, joyous... clearly innocent... there can never be a place in this world for objective truths... objectivity is limited in the realm of aesthetics... whereby objectivity is a truth: whereby two uncorrelated people say the same thing... but  when it comes to a taste in music? what is objectivity that focuses on the differentiated between the sound of Wagner with / without an orchestra... and a traffic jam? objectively? both are sounds... extreme comparisons... but you can't call one black and the other #A, can you? subjectivity is not a 1-dimensional propaganda machine, it is also a truth... and when it comes to aesthetics... within the confines of personal taste(s)... i can say Wagner works better without an orchestra than with one... but... you can't tell the two apart... subjectivity is not a bias... it is a profound truth... in comparison objectivity's claim for truth is a tirade, compensated by the mere excavation deposit of journalism, which is becoming ever more fractured in compensation; it was always the case that life, expired prior to the, death... but now? it appears? death expires prior to a, life. Wagner isn't anemic without the orchestra... Wagner merely hijacks an orchestra to overdo the purpose of the piano... to enrapture a concert hall; nothing more, and i wouldn't expect nothing less.

i'm drunk...

  you're sober...

good luck
reconciling either,

even if either:

invokes:

         none....

   who gave the reigns
to the internet,
under a sober guise?

****! quick!
catch me a moth in a lampshade
and send me off to
a CIA acid camp!

IVANA BELIEVE!
and congregate
like a ******* beehive!

or a termite mount...
whichever...
            what?
i'm drunk... you're sober...
    
unless you have some
fetish for Swedish pop music
akin to Roxette...
  we, have, seriously,
nothing, to, talk, about...

  savvy? is that privy enough
for you?

tell me the difference between:
i have no rank, no lābrador
to mind suite for an orchestra
worth a Wagner...

**** it... i just watched
Apocalypse Now...
   3 and a half hours of what i could
make of the heart of darkness...
prior to the ride of the valkyries...

but to be honest...
i'm with david...
             take of pure piano...
of Wagner's
     the entry of the gods into Valhalla...
sole, piano... it's not anemic...
it's justified interpretation,
it''s... the justified counter
to Chopin...
  a refined honesty...
                 i never liked
Chopin...
   unlike most Polacks...
i never like Jean-Paul II either...
like most Polacks...

i'd envision a Jean-Paul II emeritus...
like all old Polacks lay claim:
it you have been nice to see
an otherwise different,
process of dethroning...

no... the orchestra undermines
Wagner... the piano will do,
for now, for as long as it takes...
the piece doesn't require orchestration...
if the mere piano makes the pieces
anemic...
then the orchestra makes is
gluttonous...
  
people shouldn't expect their children
to be intelligent by merely
listening to classical music...
what they should expect...
is listening to classical music...
elaborating into jazz...
and then coming back into classical music...

why do i hear such horrors...
that the only classical music made pop...
is classical music underscoring
moving image...
why is the only classical music
"worth" listening to...
the music composed for movies,
or at least, incorporated
into them?

            no... Wagner is not anemic
on the sole basis of piano...
     das rheingold: is not anemic...
Chopin might be...
with his intricacies...
a bountiful butterfly in the age
of Bonaparte...
              
               but? listening to the piano?
of Wagner's exclusion of
orchestra?

   Handel is the new Bach...
and Wagner is the new Chopin...

you don't make toddlers listen to classical music
because they might be better
at arithmetic like some prized
monkey who later struggles
with economic biases -
or tax returns...

                     you need a classical
music appreciation,
to hit against jazz...
and if it doesn't return to classical
music?
then the original investment was
worth... zilch!

       orchestra ruins what perfects,
or rather allows Wagner
to stand-out from a Baroque tradition
of Germanic exfoliation...
   and hurts, hurts...
hurts the gentile spirit of a Schubert
or a Schumann...
      
the just Libra interlude hanging
within a composition,
the dangling in the air...
or a dire, interlude, a dire... note...

                   Wagner minus
orchestra...
                      what a fine affair to...
anticipate:

                                              ­    en oeuvre.

Across an ocean of canvas white
A stroke of beauty comes to light
The patterns even, contrast, and fair
Complexity in the mind created with care

Do not allow a single smear
To blotch the canvas and make unclear
What blossoms made with hand and mind
What intricacies you will find

A root of commons grown within
of Artist and Gazer's ken
Now engrossed with personal thought
Through paintings on canvas, connection is sought.

hiatus awaiting

welcome are the nights,
with a chance of snow,
and me...
   writing practically nothing;
i guess the common ground
encompassed by a
acted out "laziness"....
    i can admire *******
and it feels
     the same dead weight of
*******' hanging weight...
        i sacrifice my lamb
on the altar of Slayer
and say goodnight....
  i like these nights, redying
myself for an internet hiatus...
    getting a haircut,
trimming my beard...
        it will be a most pleasant
experience,
being internet-free...
i can actually forget about
the dialogues...
                   for a month or so...
the whiskey dries out,
the will abides by hibernation,
the book is read...
time passes via
         a Maori interpretation....
slow, deathly,
unpredictable...
                 such warm wintry
nights when the snow falls,
and the fox scuttles about...
            are paid grievances
for want of dream...
                i write the least
because i belittled the most...
   zeit werden plötzlich halt...
        like i said: i pay my allegienace
to a tongue..
       i align with german
on a fetishist's whim,
not a nationality...
            speaking german comes
across as oral ***...
            scheiße ficken auster!
      i pay my allegiance
to a tongue, not the people -
  der zunge uber die volk...
            i reek of the kind of hate
that these zombie-people dreams of
the living become acrid...
         i am sodium and sulphate!
                              i watch
the shamanic dance and the *******
"ladies" in waiting...
                      i am the tongue
above the people;
    thinking comes later...
    last...
       the only increment of crafting
a nostalgia of carving
and a nostalgia of what's past;
****** the oyster with the serpent,
maggot, worm...
             there's nothing with
leverage of poetics...
              why has the thrill of life
and upkeep "suddenly"
expired from me?
         why has this quasi-
castration taken hold of me?
                   all before the
perfected mechanisation ugly...
                  doesn't matter,
as individualism dies
i am the one to inherit it...
                      die hitzig nächte
aus gefallen schnee...
und die tänzeln fuchs...
                                    zu sehen.
- perhaps a return to
the saxon rooting...
perhaps that,
perhaps anything at all...
what does it matter,
there's the troubling tomorrow
to pitch against...
             the lost beauty of
the sunrise, to the day's insistence
for love lost unto labour;
the abhorring obedience to
said, "love", and slavish schematics;
love is a pardoning word
in keeping things intact,
but not a word worth an ounce
of motivational value.

and due to CSFR (cross-site request forgery)...

      *Turkish Barbers

once more, the notion of the simplest pleasures in life, are the most rewarding; maybe i should be 30 to 40 years older to make such a statement, maybe i ought to be the colt-type bungee jumping and skydiving feeding an adrenaline rush... but then again once you make life slim of extreme pleasure, the real authentic pleasures come through in the most unexpected way, out of the mundane every day, a proud, strutting peacock - let's keep the intricacies of pleasures and experienced bound to a labyrinth of either such extreme experiences, or the heights of philosophical discourse... keep the pauper's share, allow the everyday form of grey separate itself: till you finally see the black & white.

it was about time, someone had to allow this
ruffian, this ***, this barbarian into society...
sure, a suit makes a man,
but since we're living in times of smart casual,
where ties are not required nor
the top button done up -
the next thing that makes a man,
is a well deserved, haircut.
i come to think that a haircut makes more
of a man, than a well attired suit,
call me old fashioned, or new fashioned -
but it comes as a shame to not bother
with a haircut, like i did for almost a year,
considering the angst of the baldies,
with their shining craniums exposed
to moonlight...
like ice converging to act as mirror
in a firming puddle on the pavement...
yes, i am prone to "forget", well, in actual
fact abandon any ****** aesthetics to
imitate a variant of Lent...
i give certain things up and fast in a much
different way... vain?
hardly...
you only notice the difference
when a girl looks your way after a transition,
even with a puffer-fish face from all the drinking...
but it had to be done,
someone really had to get rid of the barbarian,
this: feral *thing...
and who better if not a Turkish Barber?
i have to say... i lost my virginity to a razor today...
Turkish Barbers are the best in the world,
that's not an opinion, that's a fact,
and from what the result is...
women can't cut beards,
they can do a brazilian wax no problem,
but the ***** on the face?
ladies, leave that to the men...
and there's one in particular,
a local,
a very cameo parlour,
two seats, almost like a kiosk -
Ustun's -
4 chase cross road, romford, essex,
RM5 3PR.... cemil ustun,
phone number 07447752357...
i don't know what's better,
receiving oral ***, or getting a proper barber's
treatment...
i'm starting to think the latter,
since it's cheaper...
i've come to a conclusion,
forget inquiring into prostitution -
£110 for an hour of agonising *** acts,
i'd take an hour with cemil for
a £20...
first time i actually had
oil applied to my ****** hair,
and foam and blow-drying it into shape...
before i grew my hair like a, ******* hippy,
i never really had a proper barber experience,
and i've learned something important:
not all "feminine" professions are actually
feminine...
a barber is as important as a soldier...
and that coincides with:
well, if we don't really believe in
moral relativism but absolutism,
and if we don't believe in cultural relativism
but absolutism,
we can at least agree that:
every, single, job, is, important,
that there must be a professional relativism,
or that there is a relativism of labour,
since nature does not like vacuums...
every job is equally important,
in that relativism exists on the basis of
gradation, an "ablaut" of incremental changes
in "value"...
by not money has exited the original
idea that it's the source of
the trans-valuation of values -
point being?
£20 for a haircut and a beard trim,
£110 for some wacky fucky-fucky...
hey, that's five and a half sessions
with cemil...
barbers can out-compete
the necessity of prostitutes...
but you can only, really, come to such conclusion
if you've been to both...
and this has to be the most authentic
experience of pampering that a *******,
with her moral baggage, simply can't give;
but it ought to be noted once more...
the best barbers in the world are Turks...
must be the highlight of the Ottoman empire,
akin to the english coffeehouses,
the barbers of the Ottoman empire
probably had as much significance as
the coffeehouses of england...
and that's how the cookie crumbles.

A map guide clarifying the wrong place
Stoic expressions with implied purpose are no help
Busy streets bustling about this foreign land of no lights
High buildings sporting officiality block my view
Of the mountains and rivers now paved over by ideals of the future
A showcase of grey streets, walls, and skies; I am left hopeless.

No color, no contrast, just black and white: the architects are hopeless
All the intricate designs and patterns are of a different time and place
I cannot be trapped in the colorless cinema of the town; I search for a vibrant future
Native minds drear into the day, knowing not that they desperately need help
The neon lights and rain shower rainbows are not an element of the city's depressed view
It's as if the colorblind man blackened the city and closed his curtains to the light

The planes cannot find where to land because someone put out the runway lights
Auras only shine in black and white, the long since hopeful are now helplessly hopeless
I exhale my dissapointment towards the uninspired dead end view
And mournful rainbows melt out of the sky, defeated. Why did I come here in the first place?
Perhaps I am the prophecy, the ******, the angelic omen sent by God to help
Or perhaps that is conceited; one person alone cannot brighten this future.

No amount of psychic ability or math calculations could have predicted this future
Somebody shot down the angels, choked out all the lights
Malicious villains took over as citizens realized superman wasn't coming to help
Thus the people watched as the color drained out and faded away, oh, they are hopeless
Cacophonous chaos throws broken hearts, leaving shards all over the place
A kaleidoscope zoom reflects nothing but melancholy expressions into my view.

When was the last time the sunshine peeked through the window's view?
Did the sun burn out from uncertain predictions of the future?
I try to envision when only the bleakness of TV sets in the city were out of place
Because psychedelic intricacies ruled, shinning proud neon lights
But then the clouds greyed the sky once the colorblind man began to feel hopeless
His dimension of colors disagreed with the perception of others, shying him from help

Nobody could answer his message in a bottle, his SOS, his plea for help
So day after day darker walls constructed over his already restricted view
At points in our lives our faith finds nothing to battle the hopeless
But news of the blind man seeing purple mountains ignites faith in the future
Of the man of no color who painted the city grey and drained the neon lights
Because his color is not non-existent, but waiting to be found in his own secret place

So perhaps we can help transform this dystopia into a brighter future
We cannot let be a view that we know has the capability to glitter in the light
We will smolder the pollution cloud of hopeless energy and enlighten this place.

we always want to re-invent ourselves when we feel
rejected, unwanted, left to the side.
we dye our hair or cut our hair or style our hair
so differently, so drastically, so unrecognizable.
we pack on make-up or strip our make-up
or pierce our faces, belly buttons, get tattoos, choose a permanent mark
to remind us of something solid;
something that represents
self-sufficiency or this too shall pass,
because we know we are gonna feel
rejected, unwanted, left to the side again
(and again, and again).
we buy new clothes, give away old ones to our friends,
new shoes, new bags, new look.
and we’re always picking up new vices, new habits, new addictions.
cigarettes, alcohol, razors,
all the late night reckless binges on wine, narcotics, food, cutting ourselves.
sometimes we pick up healthy ones too,
like running, swimming, dancing, yoga, meditating, resetting sleep patterns, taking vitamins, treating ourselves to the spa, eating regularly, getting out of the house to see friends.
we either avoid intimacy at all costs because we can’t fathom
the concept of trust anymore
or we dive into it with practically anyone, just to feel something real
because we are so ******* lonely,
but we never really feel anything real at all.
we make resolutions, goals, plans for our next relationships
so that they won’t follow the same patterns as our last crumbling ones
(they usually still do).
some of us change what we like, what we want, what we need
to impress people so that they
fall in love with us and will never leave us.
we begin disregarding ourselves for another person,
or disregarding everyone else for ourselves,
both because we don’t want to get hurt again.

and then somewhere, somehow after weeks, months, maybe even years of
the full fledged wavering of
destruction meeting recovering meeting ignorance meeting shyness meeting loneliness meeting accepting meeting fear,
we start to see the intricacies of the pattern much clearer -
we make all of these sudden changes because
we just want to feel better,
we just want to be better;
that’s all.
it’s taking charge, which is healthy.
it’s also making fact and point that we need to change to deserve love,
which is unhealthy.
all of it is like learning algebra for the first time,
some of us take a bit longer to understand it all; the formulas, the variables, the balance.
and once we understand the formula, the variables and the balance,
then we can welcome back the beautiful,
real version
of ourselves we’ve been trying to
cover up.

I don't think i'll ever fall in love...

Even as I write these words I can imagine the faces of my closest girlfriends, and the well meaning statements of reassurance such a statement might illicit...  

Only... I do not need to be reassured...
When I say i don't think i'll ever fall in love, I'm not speaking from a place of defeat, but rather from a place of recognition, and understanding.  

"Oh, Don't you worry Phillip, you will find a great girl one day :) "

Thank you for the vote of confidence Ashley, I know it comes from a place of great intentions, but...the truth is I have met great women, some I call family, others I call friends, still some I call teachers... and then...some... I whisper to, softly in the night


I have been blessed to meet women who are strong, talented, intelligent (many much more intelligent than I) and beautiful, dear lord, if there is one thing I am grateful for, it is the multitude of beautiful women you have put into my path, their faces shine with perfect symmetry, sharp jaw lines  holding delicate female features, which pluck upon the silver strings of a midnight liar named desire...

It is not for a lack of meeting women that I say I don't think I will ever fall in love, and it is not a shortcoming on their end or a shortcoming on my end that breed this idea, rather, this idea developed from the realization that "to fall in love" has a connotative meaning, a meaning which has been bought by corporations and mass marketed through our media in the form of stories, books, and movies, with redundant story lines that follow a formulaic model that ends in either two dimensional happiness or despair...

When I say, I don't think i'll ever fall in love... I am not saying, I will never love...  
I am in love...
I am in love with life, the subtle intricacies in a delicate tapestry,
I am in love with family, who take time out of their day's to mould me,
I am in love with friends, who hold me down through tragedy,
and...I am in love with all that I have met...

Its just that...I don't believe my love has to come after a fall...

I believe that love is simultaneously eternal and momentary, that the moments crafted in love will be echoed through the halls of eternity, until the Valkyries of Valhalla bring their weary heroes home...I believe that relationships are meant to be fluid, that we are meant to freely flow in and out of one another's lives, and through honesty and consent craft the parameters of our relationships, rather than trying to take people, and through some antiquated notion of "relationship" form a shallow contract to absolve our insecurities,  

I've been in formal relationships where I have felt choked, as if the words I will never leave you linked together around my neck to form a chain of lies ending in...never again

And... I have had friends with whom passions have arisen, and in the dark of night and the secrecy of our abode, our bodies have fused together into a tangled, and sweaty heap called freedom,

To put it simply, I have been in loveless relationships, and love full...well...by contemporary standards...love full nothing's

So please know...That when I say I don't think i'll ever fall in love, I am not saying I will never love...but rather... I will never fall...for the ******* lie...that love can only be fostered through some mundane form of courtship doomed to die...through some, incorporeal ignorance that makes one feel he or she owns the other, fall for the bull that flowers on Valentines day somehow means I get you, or that a diamond means, I love you...

But...also know...that i don't say I will never fall in love...
But rather...
I don't THINK I will ever fall in love...
Because no one person knows the future...

And it may just so happen that one day, in some dusty..smokey..coffee shop I  may be reading this very poem... and in the audience there may be a women thinking to herself that sounds exactly like me...

And through perfect symmetry I may be swept away, the sand castles of my doubt cast out to sea by the tidal waves of our emotion

But...I still don't think I will ever fall in love
Because real love dosen't make you fall,
It makes you soar aloft wings of passion and truth,
And so after this whole rant I believe my original statement needs a revision,
Because now I DO KNOW...that i will never fall in love...
But if i meet the right person...
I just might rise to the occasion

Like a spider’s web
And all it’s delicate
Intricacies
It catches its prey
from afar
It preys with
Patience
And dines with gratitude

As the web of life
And all it’s delicate
Intricacies
Pray from afar
Pray with patience
The meal will come to you
And we shall dine together
In the web of Love

The Angel ended, and in Adam’s ear
So charming left his voice, that he a while
Thought him still speaking, still stood fixed to hear;
Then, as new waked, thus gratefully replied.
What thanks sufficient, or what recompence
Equal, have I to render thee, divine
Historian, who thus largely hast allayed
The thirst I had of knowledge, and vouchsafed
This friendly condescension to relate
Things, else by me unsearchable; now heard
With wonder, but delight, and, as is due,
With glory attributed to the high
Creator!  Something yet of doubt remains,
Which only thy solution can resolve.
When I behold this goodly frame, this world,
Of Heaven and Earth consisting; and compute
Their magnitudes; this Earth, a spot, a grain,
An atom, with the firmament compared
And all her numbered stars, that seem to roll
Spaces incomprehensible, (for such
Their distance argues, and their swift return
Diurnal,) merely to officiate light
Round this opacous Earth, this punctual spot,
One day and night; in all her vast survey
Useless besides; reasoning I oft admire,
How Nature wise and frugal could commit
Such disproportions, with superfluous hand
So many nobler bodies to create,
Greater so manifold, to this one use,
For aught appears, and on their orbs impose
Such restless revolution day by day
Repeated; while the sedentary Earth,
That better might with far less compass move,
Served by more noble than herself, attains
Her end without least motion, and receives,
As tribute, such a sumless journey brought
Of incorporeal speed, her warmth and light;
Speed, to describe whose swiftness number fails.
So spake our sire, and by his countenance seemed
Entering on studious thoughts abstruse; which Eve
Perceiving, where she sat retired in sight,
With lowliness majestick from her seat,
And grace that won who saw to wish her stay,
Rose, and went forth among her fruits and flowers,
To visit how they prospered, bud and bloom,
Her nursery; they at her coming sprung,
And, touched by her fair tendance, gladlier grew.
Yet went she not, as not with such discourse
Delighted, or not capable her ear
Of what was high: such pleasure she reserved,
Adam relating, she sole auditress;
Her husband the relater she preferred
Before the Angel, and of him to ask
Chose rather; he, she knew, would intermix
Grateful digressions, and solve high dispute
With conjugal caresses: from his lip
Not words alone pleased her.  O! when meet now
Such pairs, in love and mutual honour joined?
With Goddess-like demeanour forth she went,
Not unattended; for on her, as Queen,
A pomp of winning Graces waited still,
And from about her shot darts of desire
Into all eyes, to wish her still in sight.
And Raphael now, to Adam’s doubt proposed,
Benevolent and facile thus replied.
To ask or search, I blame thee not; for Heaven
Is as the book of God before thee set,
Wherein to read his wonderous works, and learn
His seasons, hours, or days, or months, or years:
This to attain, whether Heaven move or Earth,
Imports not, if thou reckon right; the rest
From Man or Angel the great Architect
Did wisely to conceal, and not divulge
His secrets to be scanned by them who ought
Rather admire; or, if they list to try
Conjecture, he his fabrick of the Heavens
Hath left to their disputes, perhaps to move
His laughter at their quaint opinions wide
Hereafter; when they come to model Heaven
And calculate the stars, how they will wield
The mighty frame; how build, unbuild, contrive
To save appearances; how gird the sphere
With centrick and eccentrick scribbled o’er,
Cycle and epicycle, orb in orb:
Already by thy reasoning this I guess,
Who art to lead thy offspring, and supposest
That bodies bright and greater should not serve
The less not bright, nor Heaven such journeys run,
Earth sitting still, when she alone receives
The benefit:  Consider first, that great
Or bright infers not excellence: the Earth
Though, in comparison of Heaven, so small,
Nor glistering, may of solid good contain
More plenty than the sun that barren shines;
Whose virtue on itself works no effect,
But in the fruitful Earth; there first received,
His beams, unactive else, their vigour find.
Yet not to Earth are those bright luminaries
Officious; but to thee, Earth’s habitant.
And for the Heaven’s wide circuit, let it speak
The Maker’s high magnificence, who built
So spacious, and his line stretched out so far;
That Man may know he dwells not in his own;
An edifice too large for him to fill,
Lodged in a small partition; and the rest
Ordained for uses to his Lord best known.
The swiftness of those circles attribute,
Though numberless, to his Omnipotence,
That to corporeal substances could add
Speed almost spiritual:  Me thou thinkest not slow,
Who since the morning-hour set out from Heaven
Where God resides, and ere mid-day arrived
In Eden; distance inexpressible
By numbers that have name.  But this I urge,
Admitting motion in the Heavens, to show
Invalid that which thee to doubt it moved;
Not that I so affirm, though so it seem
To thee who hast thy dwelling here on Earth.
God, to remove his ways from human sense,
Placed Heaven from Earth so far, that earthly sight,
If it presume, might err in things too high,
And no advantage gain.  What if the sun
Be center to the world; and other stars,
By his attractive virtue and their own
Incited, dance about him various rounds?
Their wandering course now high, now low, then hid,
Progressive, retrograde, or standing still,
In six thou seest; and what if seventh to these
The planet earth, so stedfast though she seem,
Insensibly three different motions move?
Which else to several spheres thou must ascribe,
Moved contrary with thwart obliquities;
Or save the sun his labour, and that swift
Nocturnal and diurnal rhomb supposed,
Invisible else above all stars, the wheel
Of day and night; which needs not thy belief,
If earth, industrious of herself, fetch day
Travelling east, and with her part averse
From the sun’s beam meet night, her other part
Still luminous by his ray.  What if that light,
Sent from her through the wide transpicuous air,
To the terrestrial moon be as a star,
Enlightening her by day, as she by night
This earth? reciprocal, if land be there,
Fields and inhabitants:  Her spots thou seest
As clouds, and clouds may rain, and rain produce
Fruits in her softened soil for some to eat
Allotted there; and other suns perhaps,
With their attendant moons, thou wilt descry,
Communicating male and female light;
Which two great sexes animate the world,
Stored in each orb perhaps with some that live.
For such vast room in Nature unpossessed
By living soul, desart and desolate,
Only to shine, yet scarce to contribute
Each orb a glimpse of light, conveyed so far
Down to this habitable, which returns
Light back to them, is obvious to dispute.
But whether thus these things, or whether not;
But whether the sun, predominant in Heaven,
Rise on the earth; or earth rise on the sun;
He from the east his flaming road begin;
Or she from west her silent course advance,
With inoffensive pace that spinning sleeps
On her soft axle, while she paces even,
And bears thee soft with the smooth hair along;
Sollicit not thy thoughts with matters hid;
Leave them to God above; him serve, and fear!
Of other creatures, as him pleases best,
Wherever placed, let him dispose; joy thou
In what he gives to thee, this Paradise
And thy fair Eve; Heaven is for thee too high
To know what passes there; be lowly wise:
Think only what concerns thee, and thy being;
Dream not of other worlds, what creatures there
Live, in what state, condition, or degree;
Contented that thus far hath been revealed
Not of Earth only, but of highest Heaven.
To whom thus Adam, cleared of doubt, replied.
How fully hast thou satisfied me, pure
Intelligence of Heaven, Angel serene!
And, freed from intricacies, taught to live
The easiest way; nor with perplexing thoughts
To interrupt the sweet of life, from which
God hath bid dwell far off all anxious cares,
And not ****** us; unless we ourselves
Seek them with wandering thoughts, and notions vain.
But apt the mind or fancy is to rove
Unchecked, and of her roving is no end;
Till warned, or by experience taught, she learn,
That, not to know at large of things remote
From use, obscure and subtle; but, to know
That which before us lies in daily life,
Is the prime wisdom:  What is more, is fume,
Or emptiness, or fond impertinence:
And renders us, in things that most concern,
Unpractised, unprepared, and still to seek.
Therefore from this high pitch let us descend
A lower flight, and speak of things at hand
Useful; whence, haply, mention may arise
Of something not unseasonable to ask,
By sufferance, and thy wonted favour, deigned.
Thee I have heard relating what was done
Ere my remembrance: now, hear me relate
My story, which perhaps thou hast not heard;
And day is not yet spent; till then thou seest
How subtly to detain thee I devise;
Inviting thee to hear while I relate;
Fond! were it not in hope of thy reply:
For, while I sit with thee, I seem in Heaven;
And sweeter thy discourse is to my ear
Than fruits of palm-tree pleasantest to thirst
And hunger both, from labour, at the hour
Of sweet repast; they satiate, and soon fill,
Though pleasant; but thy words, with grace divine
Imbued, bring to their sweetness no satiety.
To whom thus Raphael answered heavenly meek.
Nor are thy lips ungraceful, Sire of men,
Nor tongue ineloquent; for God on thee
Abundantly his gifts hath also poured
Inward and outward both, his image fair:
Speaking, or mute, all comeliness and grace
Attends thee; and each word, each motion, forms;
Nor less think we in Heaven of thee on Earth
Than of our fellow-servant, and inquire
Gladly into the ways of God with Man:
For God, we see, hath honoured thee, and set
On Man his equal love:  Say therefore on;
For I that day was absent, as befel,
Bound on a voyage uncouth and obscure,
Far on excursion toward the gates of Hell;
Squared in full legion (such command we had)
To see that none thence issued forth a spy,
Or enemy, while God was in his work;
Lest he, incensed at such eruption bold,
Destruction with creation might have mixed.
Not that they durst without his leave attempt;
But us he sends upon his high behests
For state, as Sovran King; and to inure
Our prompt obedience.  Fast we found, fast shut,
The dismal gates, and barricadoed strong;
But long ere our approaching heard within
Noise, other than the sound of dance or song,
Torment, and loud lament, and furious rage.
Glad we returned up to the coasts of light
Ere sabbath-evening: so we had in charge.
But thy relation now; for I attend,
Pleased with thy words no less than thou with mine.
So spake the Godlike Power, and thus our Sire.
For Man to tell how human life began
Is hard; for who himself beginning knew
Desire with thee still longer to converse
Induced me.  As new waked from soundest sleep,
Soft on the flowery herb I found me laid,
In balmy sweat; which with his beams the sun
Soon dried, and on the reeking moisture fed.
Straight toward Heaven my wondering eyes I turned,
And gazed a while the ample sky; till, raised
By quick instinctive motion, up I sprung,
As thitherward endeavouring, and upright
Stood on my feet: about me round I saw
Hill, dale, and shady woods, and sunny plains,
And liquid lapse of murmuring streams; by these,
Creatures that lived and moved, and walked, or flew;
Birds on the branches warbling; all things smiled;
With fragrance and with joy my heart o’erflowed.
Myself I then perused, and limb by limb
Surveyed, and sometimes went, and sometimes ran
With supple joints, as lively vigour led:
But who I was, or where, or from what cause,
Knew not; to speak I tried, and forthwith spake;
My tongue obeyed, and readily could name
Whate’er I saw.  Thou Sun, said I, fair light,
And thou enlightened Earth, so fresh and gay,
Ye Hills, and Dales, ye Rivers, Woods, and Plains,
And ye that live and move, fair Creatures, tell,
Tell, if ye saw, how I came thus, how here?—
Not of myself;—by some great Maker then,
In goodness and in power pre-eminent:
Tell me, how may I know him, how adore,
From whom I have that thus I move and live,
And feel that I am happier than I know.—
While thus I called, and strayed I knew not whither,
From where I first drew air, and first beheld
This happy light; when, answer none returned,
On a green shady bank, profuse of flowers,
Pensive I sat me down:  There gentle sleep
First found me, and with soft oppression seised
My droused sense, untroubled, though I thought
I then was passing to my former state
Insensible, and forthwith to dissolve:
When suddenly stood at my head a dream,
Whose inward apparition gently moved
My fancy to believe I yet had being,
And lived:  One came, methought, of shape divine,
And said, ‘Thy mansion wants thee, Adam; rise,
‘First Man, of men innumerable ordained
‘First Father! called by thee, I come thy guide
‘To the garden of bliss, thy seat prepared.’
So saying, by the hand he took me raised,
And over fields and waters, as in air
Smooth-sliding without step, last led me up
A woody mountain; whose high top was plain,
A circuit wide, enclosed, with goodliest trees
Planted, with walks, and bowers; that what I saw
Of Earth before scarce pleasant seemed.  Each tree,
Loaden with fairest fruit that hung to the eye
Tempting, stirred in me sudden appetite
To pluck and eat; whereat I waked, and found
Before mine eyes all real, as the dream
Had lively shadowed:  Here had new begun
My wandering, had not he, who was my guide
Up hither, from among the trees appeared,
Presence Divine.  Rejoicing, but with awe,
In adoration at his feet I fell
Submiss:  He reared me, and ‘Whom thou soughtest I am,’
Said mildly, ‘Author of all this thou seest
‘Above, or round about thee, or beneath.
‘This Paradise I give thee, count it thine
‘To till and keep, and of the fruit to eat:
‘Of every tree that in the garden grows
‘Eat freely with glad heart; fear here no dearth:
‘But of the tree whose operation brings
‘Knowledge of good and ill, which I have set
‘The pledge of thy obedience and thy faith,
‘Amid the garden by the tree of life,
‘Remember what I warn thee, shun to taste,
‘And shun the bitter consequence: for know,
‘The day thou eatest thereof, my sole command
‘Transgressed, inevitably thou shalt die,
‘From that day mortal; and this happy state
‘Shalt lose, expelled from hence into a world
‘Of woe and sorrow.’  Sternly he pronounced
The rigid interdiction, which resounds
Yet dreadful in mine ear, though in my choice
Not to incur; but soon his clear aspect
Returned, and gracious purpose thus renewed.
‘Not only these fair bounds, but all the Earth
‘To thee and to thy race I give; as lords
‘Possess it, and all things that therein live,
‘Or live in sea, or air; beast, fish, and fowl.
‘In sign whereof, each bird and beast behold
‘After their kinds; I bring them to receive
‘From thee their names, and pay thee fealty
‘With low subjection; understand the same
‘Of fish within their watery residence,
‘Not hither summoned, since they cannot change
‘Their element, to draw the thinner air.’
As thus he spake, each bird and beast behold
Approaching two and two; these cowering low
With blandishment; each bird stooped on his wing.
I named them, as they passed, and understood
Their nature, with such knowledge God endued
My sudden apprehension:  But in these
I found not what methought I wanted still;
And to the heavenly Vision thus presumed.
O, by what name, for thou above all these,
Above mankind, or aught than mankind higher,
Surpassest far my naming; how may I
Adore thee, Author of this universe,
And all this good to man? for whose well being
So amply, and with hands so liberal,
Thou hast provided all things:  But with me
I see not who partakes.  In solitude
What happiness, who can enjoy alone,
Or, all enjoying, what contentment f

Carrie walked down to Fell street through the park. He leaned upon his faithful cane which was split, splintered, and water logged from being left out on the back porch in the rain where he sat every night before bed. His free arm swung by his side, his hand spread wide open, letting the sun warm his palm. His other arm was constricted with his muscles tight as his hand gripped the polished wooden ball handle. Carrie's skin seemed to envelop the ball there was so much of it. The cane and Carrie were one whenever they walked together.
He passed the Japanese Tea Gardens. He had been there many times. He remembered the strong taste of the green tea he had been served and how energized he felt after his third cup. He remembered the sturdy wooden table and chair he sat on while over looking the crystal clear koi ponds, the seaweed underneath the water reaching up to the sun for nutrients like the hands of the long dead. He remembered how the children had gathered near the water as mothers watched them feed the fish food they were not to be fed, anxiety cramping their smooth skin as they watched to make sure they didn't slip in. The waitresses were all so gentle, so quiet, caring for whatever Carrie had wanted. In that solitary moment, he had felt like a newly appointed king, the 5 acres of garden his domain.
The gates were closed for the day, with many frowning tourists sitting on the steps that lead inside. Carrie figured they had been confused by the times but yearned to tell them if they stood on the street, they could still see the ancient replicas the blood red pagodas, stone lanterns, bamboo stalks, and cherry blossom trees which were just beginning to bloom. There was so much one could see from the street. But, Carrie trudged past them, figuring they would not understand an old man trying to show them beauty from afar.
A long line of benches stood before Carrie after he passed the garden. He sat down next to a young, Chinese couple. They both held a map and were looking at it upside down and sideways. Carried smiled. They were speaking rapidly, laughing sporadically, turning the map around and around in a circle as if they were both at the helm of a sinking ship. He wondered what they were so confused about - had they never read a map before? But then, he realized, they were probably on vacation and in love, maybe even on their honeymoon. He laughed, thinking, They're confused about everything.
A few minutes passed and soon the young couple was gone. Carrie sat with the cane between his legs, both of his hands drooped over the handle. In front of him, like a painting, were London plane and Scotch elm trees lined up in symmetrical rows and the Rideout Fountain. Carrie could see the water was still except for when a light breeze brushed over the water or a child threw a hand full of coins in to make a wish. Their hair reflected the bright rays of the sun. The sky was empty, save a few scattered flying birds going to where Carrie knew not where.
He closed his eyes and listened only to the sounds around him: tires rolling along the smooth concrete road; people chattering behind and in front of him; a door closing; the rustling of leaves from a sharp gust of wind; a car horn; a sneeze; two lovers embracing, their kisses sounding like the steps of kitten paws in the sand. Carrie opened his eyes and cast his gaze aside to the left. There was another old man. His back was bent, his cane was worn, and his legs wobbled with every step, much like Carrie's. The man was alone and dressed in a heavy grey sweater, a pair of beige trousers, and simple brown shoes. Carrie wondered where this man was going and at such slow pace. Why was he alone? Who had he been with before? Where was he coming from?
Carrie then realized he was leaning so far forward from the bench, he almost fell off. He ****** his cane out, catching himself, and pushed himself back. He looked around to see if anyone had noticed his mistake. Twenty or so asian people were crowded like sardines inside of the bus stop terminal. They all looked to be avoiding the sun, uninterested in whatever Carrie looked to be doing. The 44 roared by, stopped in front of the crowd, where they all laughed, giggled, and preceded to jumble in. Carrie looked over his shoulder, sure someone was right there keen to make a comment, but there was no one. He sighed, relieved. Being old and falling down with no way to get yourself back up was one of Carrie's biggest fears. The other, of course, was spiders.
Once Carrie reorientated himself, he looked up to see where the other old man was. He was gone. Carrie stood up, his knees shaking slightly. He jammed his cane down to steady himself and took a step forward. His eyes strained from the sun, which was beating down on him now, hotter than it was before. He took a slow step forward, then another, and then another. Once he got in the rhythm, his mind didn't have to focus on it as much. He could let it wander to wherever it wanted to. Sometimes, he let it wander to death, sometimes to past lovers, and sometimes to his late wife, Patty, but never very long on her.
He stopped to catch his breath and wipe his brown. Next to him stood a dark lime green statue of a lion. It was miniature and sun stained. The teeth were dull and the eyes were blank. It was very beautiful and Henry realized he had never seen a lion in the wild, only at the zoo. He wondered if they were any different out in Africa or wherever they were the most and if they roared the same. The one's he had seen at the zoo were sluggish and lazy; almost depressed. He could see why, being cooped in there all day long with only your wife to talk to.
"That wouldn't be so bad," thought Carrie, "To be trapped in a cage with the one you love. That's marriage, isn't it? Isn't that love?"
A cough startled him out of his meandering, love provoked thought. Sitting on a bench across the street where the apple cider press statue stood, was the old man Carrie had seen before. He was hunched over, fishing something out of his bag. Carrie wavered back and forth, watching the old man. A noise rustled behind him and Carrie slowly turned his head to see what it was. Two children were running around the fountain, splashing water at one another.
"Nothing to speak of," grumbled Carrie, "Wasting water all the same."
Carrie turned back around and saw that the man had pulled out a shiny, red and green apple. The man bit into it slowly, taking his time as he broke the outer skin of the apple so the juices spurt into his mouth. Carrie's stomach rumbled when a hard gust of wind hit his back, forcing him to step forward. He put out his cane and felt the peg slide and grind over the rough concrete. A man behind him reached out to help, but Carrie waved him away, mumbling that he was fine and that he didn't need any help. The man on the bench hadn't paid him any notice. The apple in front of him was all he needed. Carrie walked to the other side of  apple cider statue opposite the man and sat down roughly, for the man looked up from his apple a little wide eyed and a little annoyed. Carrie smiled awkwardly at him, but it came out more like a frown. The man relaxed his face, slowly letting it become blank while a line of apple juice rolled down over his lip. He licked it up, coughed, and went back to studying the intricacies of the half-eaten apple.
The mans face, Carrie saw, was *** marked and dented, like a car that had just been through the worst of accidents. His eyes were barely visible behind what seemed like hundreds and hundreds of creases, wrinkles, chicken's feet. The man's bulbous nose was an obvious sign that he was or had been a serious drinker. It was swollen and red, drooping from the mans face like a glob of honey that just wouldn't fall. The lips were creases of an old pair of jeans that had been left out in the sun. Though Carrie couldn't see his hair because the man wore a large, dapper styled hat on his head, he wouldn't doubt there wasn't much of anything under there. The old man was anything but beautiful, but Carrie, who had been staring at the man out of the corners of his eyes while pretending to look at the apple cider statue, could not look away. He was utterly fascinated with how the man held himself. Why was he so ****** interested that apple? Had he never seen one before? Carrie then thought the man was homeless, so he must be crazy, but when he had walked over before, Carrie hadn't smelled the usual musty musk that homeless people give off. He had smelled like nothing, usually meaning he slept in a bed and showered regularly. Then, in the midst of Carrie staring at the man's unbelievably shiny brown loafer, he said something.
"What you looking at there?" asked the man. He was hiding his ragged face behind the apple. A few pieces fell to the ground below. Carrie could see the bite marks were mere nibbles, like a rabbit had been eating it.
"Hm...I...uh," stammered Carrie. He looked up into the sky, trying to spot a bird to hide where his gaze truly had been, then looked down at the ground. There was a tiny pebble that resembled a hermit crab. He focused on that until the man asked the same question again.
"Were you staring at me, my friend?"
My friend, Carrie thought, He thinks I'm his friend? How on Earth did we get to there? I barely know him. I'll say something. He paused. Well, say something!
"I was staring at your apple there," Carrie mumbled, "It's a very nice looking apple."
"It's very tasty," he nodded, looking back it, admiring the colors of the skin that had yet to be bitten in. "Would you like some?" He stretched the half-eaten apple out to Carrie.
"Oh," Carrie laughed, startled, "I'm fine. Quite full." He patted his stomach.
"Are you sure? It's almost dinner time."
Carrie looked the man up and down, then smiled, "I'm fine. I ate just earlier."
"Oh really, where did you eat?" The man inched forward on the bench and rested his eyes on Carrie, waiting for an answer. Carrie's lip quivered with the thought of having to come up with a quick lie. The man had placed the apple back in his bag and was completely focused on Carrie's lie.
"Well, you see, there's a great place up past Lincoln Way toward the beach. I go there all..."
"Lincoln Way!" exclaimed the man, "You can make it all the way up there!"
Carrie was flattered. He could walk far past Lincoln way and up any of the side streets, if he had the energy, but had never been congratulated for the fact. Carrie shifted back and forth in his seat, blushing for being thought of so highly.
"With this cane," Carrie said, tapping the ground with the end, "I can go almost anywhere."
"Wow. Where'd you get it?"
"My son gave it to me when I first started showing signs of getting old," said Carrie, "It was kind of like a joke at first, but then, I really needed to start using it, and I've been attached to it ever since."
"That's nice," the man nodded, "I bought mine for 50 cents down at Salvation Army. You know the one on 3rd?"
Carrie said that he did.
"Spent 50 cents on this thing four years ago and it has taken quite a beating, but still, it works and looks fine as you can see."
"Doesn't look so bad."
"Well thank you, I appreciate that."
The two of them paused, looked each other up and down, then found something other than themselves to look at. Carrie noticed the soft lines of the man in the statue twisting the cider press and how his muscles were as detailed as a real man's. He had never seen so much physicality in a statue before. It really looked like this man was pressing apples in front of his eyes. Carrie was at a loss at how one captured that feeling of true action in stillness. He looked up to where the statues face was and saw that the eyes were cast down to where the press was tightening. He thought maybe the man was thinking if he stared to where he was working, he would twist harder. The statues hair was soft and smooth in the sun. Carrie followed the statues legs down, past the flat stomach and taught ab muscles, to the feet which were pressed into a large stone so to get more leverage. The veins on the feet were almost pulsating with blood and strength. They seemed to rise and fall with what Carrie imagined would be the mans heartbeat, if he had one. He didn't quiet understand why the man was had to be naked, but figured it was for the sake of art. Carrie was not an artist, but with the free time that was allowed to him by growing old, he was starting to appreciate what he saw, feel it a little more often, then when he had no time at all when he was young and busy. He wasn't sure which he enjoyed better: being old and feeling more or being young and always with something to do.
The man had let his eyes wander from Carrie, to the small statue of a boy. His mouth was pressed up to the spicket where the apple juice was being pressed from above. He imagined the statue of the man above the boy was his father or at least he wished that it was. The boys skin was very smooth and reflected the sun softly up back into the mans face. He looked closer at the face of the boy and saw that it was a silent kind of contentment. The man took out the apple from his bag, took a bite, and offered it again to Carrie.
"Take a bite," he persisted, "Sitting in front of this statue, looking at this little boy drink up that apple juice has to be getting you thirsty."
"I'm really fine," said Carrie, smiling uneasily.
"Come on. You don't gotta' worry about me."
Carrie paused, really thought what he was so scared about, and then admitted that was only uncomfortable because of this stranger's hospitality. He hadn't obliged a kind gesture in a long time.
"Alright," he said, "I'll have a bite."
"There you go!" The man handed the apple over to Carrie.
He took a bite and let the cool juices jump into his mouth. A small dribble ran down his cheek, where he quickly wiped it away with his sleeve. He didn't want to look like a slob, much like the man had looked when he first began eating it. Carrie looked down at the apple, nodded, and handed it back to the man.
"It's," he started, still chewing, "Very good. Thank you...I'm sorry, I don't know your name."
"Symon," he said, taking a bite of the apple, which was almost gone, "Symon with a Y."
"Thank you Symon."
"You're welcome..." he paused, "I never did get yours."
"Oh," he laughed, "I'm sorry. I'm Carrie."
They both reached forward and shook hands. Carrie hadn't sat with another man and talked with them since he'd buried Patty. After that, it had grown hard to shake hands with anybody he knew. Maybe it's easier with him because he's a stranger? Carrie thought, Maybe I should meet more strangers? Probably go and get yourself killed. That's a funny thought. I never thought I'd go by getting murdered. I always figured I'd let time take me, rather than the hands of another. He doesn't look like a killer anyway. He's got to be older than me. He's definitely slower. Look at his hand shaking. Your hand doesn't shake. Does it? Carrie looked down at his right hand which was resting on the handle of his cane. Solid as a rock, Carrie mumbled to himself, As a rock.
"What was that?" Symon blurted, eyeing Carrie, "Where'd you go?"
"Just thinking."
"Bout' what?"
"Whether my hand was shaking or not."
"My hands shakes all the ****** time. It's like one of those kitchen timers or chattering teeth you twist, it goes for a while, and then eventually goes off, but me, never. No, never this hand never stops shaking. Got a ******* mind of its own."
Symon raised his right hand so Carrie could see. Sure enough, it was shaking like a leaf in a tree ready to fall off. The shake wasn't violent, but definitely noticeable next to a hand that was still. It was more a buzz than anything else. Carrie couldn't imagine Symon writing his name down and coming out eligible.
"How do you write your name? Does it get all messed up?" Symon looked at him, then looked away. Carrie froze, realizing he may have just asked a very touchy subject.
"Huh?" Symon asked, looking back. "I got something in my eye real quick. I didn't even hear what you said."
"Oh," Carrie stammered, "What I said was..." Symon cut him off.
"I'm just joshing yah!" Symon shouted, "Course I can write my name! Whenever I put pen or pencil to paper, the shake usually calms down. Don't know why, but it does. I never ask que

A spirited moon
   'neath furtive glances,
      anguished of despair
looked upon hushed
  entangled constellations
      and heeded a warning,
for he knew well of lavishing
    recherché intricacies,
mattered naught how exquisite
  nothing lasting could come
    of liaisons's effusive grandeur,
       'tween clandestine stargazers

/          the aesthete...

                             and the athlete,

i.e.

               the "sophist",

                     and the "philosopher"?

ah... phonetics, rather linguistics:

  former: as-feet...

   but the latter?
                                   ancient greek
in french:

                    a(h)'f'lé'té.

     people should, really introduce
a chemistry-style subscript for surds,
most notably H,
                hay'chch,

      when dealing with such deviations
from classicaly philosophy
metaphysical concerns,

   and modern, orthography:
this, the, now,
     types of "philosophical" inquiries:

and i mean that
  as "philosophical":
   because i actualy mean...
   the favours of pedantry akin to
being entertained by
the intricacies of Versailles;

you'd get more good-luck wishes
in the form of horse-shoes
hanging over your door in a small
village in the ***** of gascony.

.i'm still an advocate of caesarean section... i believe in animal rights... it's just plain cruel exposing a European ****** to a pan-African phallus of a fetus head ****... isn't it ****, "technically"? **** me... forget the ******* ****, the latex... the ****** *******... one pregnant women *******, and talking Freudian implosion will do.

personally? i hardly think
******* **** is what men turn
to when excavating
*******...

ever watched
pregnant
women
*******
while filming themselves?!

ever watch pregnant women
film
themselves *******?
ever?

in the beginning there
was the word,
and the word was god...

you hear the talking
of pregnant woman *******?!

**** me...
who the hell needs ******* ***...
when you can *******
to a pregnant woman...
jerking off, talking "*****",
paradoxes of Freud
about her yet to be born
son
watching her *******...

    who the hell needs
******* ****...
just watch a pregnant woman *******....

oath of god...
   hand on my heart...
     it doesn't actually encompass a
desire for intricacies of latex...

            just a pregnant woman
*******...
*** mad... *** mad...
            *** mad...
            ******* *** mad as hell...
  Freud? pale as an uncooked
pancake dough...
   the **** that comes out
from the mouth of a pregnant
woman *******...

believe me...
  i ****** off to one of them doing it
helpless.
nice try... thinking
a man would turn to *******
*******...

  can't turn to more *******,
****,
than a pregnant woman,
*******,
while talking, Oedipal,
"*****"...
            try... try, ******!
try to bash that fact out
of existence!

He lives in a time of plague.

The tag team of cholera and dedication killed his father, for all Dr. Juvenal Urbino knows, his father was faithful to both work and love.

The good doctor knew from an early age that his work would be his love, and from a slightly less tender age he discovered that his love of flesh and the body ran deeper than mere science could take him.

He met Fermina Daza in the doorway between clinical curiosity and obsession over her doe’s gait, and as he walked through his heart made room for a new kind of dedication.

He thought his devotion would be equally as precise as his practice.

Fifteen or so years of marriage, between years in Paris they bled together like a Van Gogh after a rainshower, the intricacies of their companionship were jointly held in a contractual cradle, but neither of them felt obligated.

Dr. Urbino was before my time, but my story will know the life of Carlos Mucharraz, Pre-Med major, they both dedicate themselves to their love. I’ve never seen her, but I can imagine Carlos likens her gait to that of a doe. He fawns over her from 17 hours away, for nearly a year.

Like a Texas dust devil, he sends his love through the air to Minneapolis to brighten her phone screen and her day.

They’ve only ever spent time together twice.

I’d like to think of his devotion like a boulder, immovable, but twisters slither across prairies as wicked winds push them towards seas of lust, but I’d like to think his love flew above turbulent skies.

I thought Dr. Urbino as a rock.

He must have thought of his fidelity as a disease. His father died fighting cholera, and Urbino would not let his affliction of faithfulness **** him. He thought himself ill, and the mantra of his practice taught him one thing only: cure.

In a slum of San Juan de la Cienaga, pants around his ankles, holding a mulatto girl’s legs around his waist, he crumbled like stale bread as he plunged himself into infidelity.

This man of granite broke and fragmented, his sin etched a crooked cobweb of fractures into his back, I wonder if the beads of sweat stung his spine, or dulled the pain.

But maybe I should put my faith in dust devils.

Humans may be able to shatter the hardest stone, but no one commands the sky, for it straddles North and South, East and West, Fort Worth and Minneapolis.

11/9/2014

it’s not a question
of whether or not
but rather how

your crooked elbow
hangs over my collarbone
as you reach for your phone

lying procumbent on wherever
the circumstances have placed
us

whether it is a dorm bed or
a basement couch me sitting up in a cold
sweat
or the red of my sunburn on the white
sheets of my july bed

it’s never been a question of state
no matter where the state
until i’m sitting

staring at the empty space you left
next to me or
in my head.

it’s not a question of legitimacy
with the intimacy in your tethered
voice suggesting otherwise

but i can’t help but despise
wild intricacies of time.

i like reading about urban living, primarily by accounts of Frank O'Hara -
no one else, to be honest - where i'm placed i can vocalise
both the vulgarity and the serenity of a Wordsworth -
better had i an art gallery to run,
but my heart is too stony to accept the
chanced frivolous - it's anything beside that,
chanced, basked in, celebration of life -
perhaps i am outdated, and i know i am,
succumb to Kantian idealism, and no strand
of realism - after going to a brothel and learning
a few things, i was told i was a good man -
never did ****, too eager to watch the ******* -
****** tied - and then silencing my ****** -
i guess that's how quasi-country-folk live
these days... i simply prefer the solitude,
not from self-love: but as a way of assurance -
and later assembling - but i learn of the lives
in urban areas, of their little pests and phobias,
of places where people congregate -
and i feel no inclination to do likewise -
i don't even know why i'm travelling to
say something at the Cheltenham festival -
i've got nothing to say...
                               i can create usurpers of older
men, and blind-spot the youth,
        and be incriminated for both actions...
because i can...
                              but there's still O'Hara to mind...
and "all that love he could give in **** pursuit" -
apologies if i don't share that,
  my mentor Spinoza learned as much
in other circumstances -
                         hence the twilight of the man
of contempt and great love -
   as said, paradoxically, frankincense is
a scent appropriated as possessing anti-depressant
properties... yet we speak of: the man of sorrows.
but about my pet peeve, linguistic, obviously:
    the french for hotel - hôtel -
mind you, not trilling the r with mutually respective
   examples of English and French, but nonetheless
harking the r and amputee h in French,
     hôtel - or h'ôtel or h)ôtel - the diacritic mark
above the o is like a bracket, or < (less than) what's
expected in tongue kitted to say:
                                               h'otel - or simply o(h) tel -
        so too garçon - with ç extending into s
   and said: garçon / garson -
                           or with grave markings on a vowel:
that eats all other letters after it: cut-off grave e (è) -
    thus too the circumflex abuses invisible in
Cockney slang, and the eaten up h - via 'appening -
   'n 'appens only ounce -
                                            indeed the fighting took
places above as well as below the 26 symbols -
  in the diacritical realm of stresses and other punctuation
deficiencies - colon over the u for the umlaut,
there the fighting took place -
                      in an urban environment, would i ever
have spotted this? among fast food outlets, neon
and art galleries? probably not -
so akin said: lawlessness above and below the alphabet,
the warring fusion - but so they should have said,
in Mandarin - beyond vowels and consonants,
there are Surd variations of both -
              for aesthetic reasons -
our natural borders -                          and there are also
                    diacritical / exemplified stresses of
both sexes of letters -   some are silenced, some are
pronounced... they never told us that...
               they simply bragged about how naked
English was, and how certain people picked up
all the major eccentric intricacies -
                       to create a bourgeoisie levelling of
what's content with being a noun: intelligence.
there are rules beyond the five vowels and 21 consonants,
in that there's a trans-linguistic appropriation -
some become surds, some become pronounced -
   third limbs, six fingers, or Siamese twins -
                     given the book of revelation, and the phrase:
given power over all tongues - apart from ideogram
languages - and Arabic sidewinders on sand dunes -
you could, technically, incorporate all the particular stresses
onto the English language from all the Latin alphabet
languages... you could, in effect, paint onto all the
English particulars, all the brimful expressions of
diacritical marks being missing: English eccentricities -
you could, in effect, paint, once you have mastered
all the punctuation of pronunciation above the letters,
and below, not unlike (that that) what's already
deemed appropriate between words: i mean actual
letters - attach one diacritical mark to Finnegans' Wake,
and the whole work crumbles... you could effectively paint...
once you mastered the many particular instances of
atypical English deviation - making English, a language
less offensive in a sense that it already is:
for English is offensive in that its universal,
a franca lingua of commerce - and since that is the case:
there must be a status quo lingua - in this case:
English with diacritical marks - expressing all the
obvious deviations - this process, i am gleeful in stating:
will take as much effort as mapping out man's d.n.a.,
that's not pompous, that's actually hopeful,
hopeful in the sense that i spotted this, and someone
will take over in 50 years time, to incorporate
all the public uses of diacritical marks in other Latinißed
languages a pompous: congregation -
nesting on the bare rocks - after all that 16th and 17th century
******* in England and tongue and Empire: doth do, etc.
modernity says? Irvine Welsh's trainspotting Scootish
dialect excess - aye wee and e -
only when all the diacritical propositions are congregated
in the English Eden will we sing hallelujah -
this is a challenge, after all, English with its
Welsh and Scottish, Berkshire and Cornish, Cockney
and Richmond fluffy accents can be feed
this invasion of nuances already expressed:
thus in abstract:                      ABSTRACT

(originally herioglyphs)
        heliographic                     (v. the ideogram -
                                                      or no pyramid to ditto)
        and thus the heliocentric theory -
countered with this, or these the 26 fractions
      of the geocentric notion, England: bellybutton
of the world - as such... helioglyphic - glitches
  or graphics or glyph-on-glyph in that x = y combined with
   x squared and the parabolic curvature and foundation |)
                geographic - geoglyphic -
when then the Greenwich meridian turn into
the Greenwich universal accenting?      English
is fertile ground to apply the many stresses,
                                   sure, make it the universal tongue,
the globalisation vehicle, but dress yourself for that purpose,
accept all the invaders to your schemes invoking the 24/7 global
community... **** up! don't tartan up! **** up!
            with the wigs and the perfumes, and the bowler hats
and the neckties - you did it once... do it again!
                English is fertile ground for incorporating all
the linguistic "anomalies" - sure, little would look ugly if
written litle - soon to the invocation of lyre - or saccharolytic -
    dog's tongue lapping and a thousand slurs later:
                     cha cha cha and kappa and cholesterol
     and cheap and chasing foxes with bloodhounds -
                         and cappuccino - and chisel - chromosome:
                                          cistern (alter. çistern) -
    if something akin to this doesn't happen...
          we're all be playing the Mongolian harmonica,
by default of the 24 hours that are stressed to
be as important as an entire year of patience in waiting
for autumnal grapes and the wine pressed.

For once, I'm at a loss for words
I can't write eloquence into our anniversary yesterday
Because it was magical in and of itself
You planned me a quiet picnic in the woods, just you and me
Cooking hot dogs on a charcoal grill we didn't know how to use
And eating chicken salad
Going kayaking was a dream, paddling along
On a quiet tributary to a bigger lake, we went back into the woods
We sat in our little floating craft and talked about first kisses and magic
We wondered at how simple acts could have led us apart and how happy we are together
I noticed the calmness of the water and the intricacies of the ripples when I indulged my paddle into the stream
We were out for an hour, just paddling along
Talking, living, laughing, loving together.
Just being together
We eventually made our way back in, an hour car ride away from home
Talking some more, laughing together, enjoying the company
We went back to my place and ate dinner with my family
Shrimp Scampi with salad and bread
Then roasted marshmallows and laughed when they became torches
Nothing is better than marshmallows with the people you love
After that we set up my hammock and just swung there and watched the sun slip below the horizon
Taking in the scenery, we didn't need to talk, because there was nothing more that could have been said
It was magical until my little brother came over to us and asked why we weren't talking and called us boring
But he doesn't understand, not quite yet
Not until he is sitting on a hammock with a girl, and knows there isn't anything to say
It was a beautiful day, wonderful by itself

I have this amputated vision of beauty
I feel I am supposed to be
A specific set of criteria
I am expected to meet:
Shaped perfectly
Delicate and light
Designed and idealized
Like a crystal champagne glass.

Gripped with only *******
And a pinky erectly raised
To signify elegance
An object with little weight.

People would want me;
They would press their lips
Against my rim
Taking a sip
Taking me in.

They would tilt their head back
Scoff and laugh
Gabbing about the day they had
Conversations over choosing paint swatches
“Lemon or cornsilk, the choice is too difficult."
God forbid they pick plain yellow.

Flashing fake teeth
Giving compliments they don’t mean
Over 30 and still gossiping.

Is that who I am?
Is that who I really want to be?
This idea of a human
Consumed with aesthetic beauty
A mere champagne glass
But made out of plastic.

I am not a champagne glass
I am in a different class.

I am a hand painted mug
Born in a ceramic painting store
Surrounded by various pottery
Cups, plates, figurines, galore.
In walks a girl with the desire to create
Make something beautiful
To love and adore.

Everything she is
Was placed into that mug
Favorite designs
Her inability to stay within the lines.
But these
Little intricacies  
Is what gives her beauty.

Perfect isn’t relatable
In fact, it’s unattainable.

I am a mug
Cold and heat tolerant
I can be roughly handled
Won’t break from a drop
Off a counter top.
Ask that of a champagne glass
Watch a breeze,
Have it fall to it’s knees
And shatter into pieces.

Thin
Breakable
And only seen
Under the hand of another’s command.
Put back when finished
Into my showcase
Until the next holiday
With only one purpose:
To be used for looks.

I am a mug
Not societies type
But does that make me ugly?
Say that to the little girl
Look in her eye
Watch her cry
Tell it to her face
Bring her to shame.

Why do we talk to each other this way?
We need acceptance
Not lessons
On how to have the best this and that.

I am not a champagne glass
So am I automatically fat?

Tell that to the little girl
Strip her of innocent purity
Give her insecurities
Distorted imageries
Of who she should be.

My mother believes
Her perception is the exception
“Be a lady”
“Be dainty”
“That dress isn’t very flattering”
“Do you hear me, Lauren Marie?”

I hear you mother
And all your opinions
But I am not open
To accepting any of them.

You love me entirely
But your words bully me
Like bullet in my chest
It’s hard to walk away
Feeling anything but less.
You’re in denial
Because you treat me like a child
I will never be
“Little Miss Perfect Lauren Marie”

I don’t want to be a champagne glass
Because I don’t drink
I’m not one for wine
I'd rather have tea.

Grab a mug, please mommy
We can cuddle together
And I’ll read my poetry.
But I see
You’re still reaching
For that crystal glass in me.

We own a kettle
One day you’ll want tea.

Dear Cecil the Lion,

What happened to you was a terrible thing.
What you represent most assuredly will live onward.
The  ****** and dishonest way you were lured out
of the animal sanctuary to have a bullet put through you
was a tragedy.  

But,
you can go unfuck yourself.
To be honest,
your death ranks just above a smooshed fly or mosquito.
After I heard the news of your death,
I finished taking a **** and went about my day.

I'm glad people are upset about something. Its time people started getting mad as hell & stopped taking it. BUT, maybe we should reconsider our priorities for a second the next time we decide to erupt in a collective outrage.

Whatever happened to #blacklivesmatter?
Oh right, they're still trying to put an end to racism in many areas
where some police are still under the impression it's the 1950's.

Hey...how's the whole world hunger thing going?
Well, it's probably not helping what with the whole food wasting bit
the majority of us practice.
And yes, I know there will always be someone starving somewhere for some reason due to a variety of circumstances, but that doesn't mean we gotta sit around in apathy over it.

What ever happened with all those troops
we were so excited to support when it came time
to defending our country? Oh right...

How's the whole woman's rights thing going?

One more question; do we still care about education or is that something we've just given up thinking about?

Look, I realize the aforementioned list of
#blacklivesmatter,
world hunger,
support the troops,
woman's rights
& education
are weighty topics in & of themselves with lots of intricacies.
And I understand they're not going to be solved in a day.
But, these big five all have one thing in common;
people.

George Carlin once spoke about people who "always gotta be saving something" from animals to the planet,
"We don't even know how to take care of each other & we want to save the ******* planet?!"

And I get it, there are those out there that probably care more about animal lives than human lives, which is cool.
Hey, if that's your prerogative, I'll buy everyone who feels this way
a ticket to the jungle & you can start doing your part sooner,
and much more quietly, especially when some of us are trying to eat.

Because I swear to whatever you hold most sacred & holy,
if one more person tries to tell me
to stop eating meat because it's ******,
I'm going to wrap my hand around their neck & squeeze,
shaking them as I shout "Plants are living beings too you ******* *******!"

I get it.
Some can feel that deeply when they eat meat & it makes them uncomfortable to chow down on the flesh of something else.
But why are we having THAT discussion
when someone else somewhere is starving?!

After we get the world hunger thing under control,
then we can talk about the morality of what we put in our mouths.
After we prove that we can take care of ourselves and each other,
then we can move on to whatever animals are left.

Lately
My life is seeming to become
Surreal
It doesn't feel
Real
And I don't understand why.
People
Are becoming backgrounds
Places
Are even less
And I don't seem to notice things
The intricacies of life.
Because it all seems
Fake.
Like a spectacular video game
That I am just playing through
Looking forward to the next one
Too busy looking ahead to see
What is right here beside me.

there are not words
             to define or describe
the intricacies of a human Soul

a Soul does not
   converse with words
                but with
passion
         raw
              perfect
                     inexhaustible

words are a facade
             tenuous
                          nothing

the only conversation
         occurs
between souls

and words
     are simply there
                     to fill the gap
                                
                                          that awkward silence
                                          
                                                       the crushing oblivion of forever
when all passion is gone

"There are no diseases crueler
than the ones we self-inflict"
but I still find myself
thirsting for the bottle
and you still find the beast in your heart
begging to be smothered in smoke

They sneak out to smoke their cigs
between classes
just another insolence, another act of audacity
another fleck of rebellion
a way to express their contempt
a way to say ********
to the government and the educational system
and to the clockwork holding them back
from a death they secretly long for
Because i think at least a few of them know
that it’s still a suicide
even if it’s in slow motion
And every cigarette
is a calming coffin nail

Legally, they are too young
to drink or purchase
their ambrosia and tabacco treasures
Yes they are young, minors
but they’re already afraid of growing too old to die young
soon they'll get withered and wrinkling
and they won't be able to leave a beautiful corpse

Pulling off clear, crinkling cellophane, shiny silver foil
with nimble fingers and
sliding a single cigarette
out of the pack
and slipping it into their lips
It fits so effortlessly, so easy
they've been repeating the same motion for years now
sparking the lighter,
The small flame erupts
promising relief.
The sweet taste of nicotine trickling
down into the back of their throats.
They smile.

Behind stone gargoyle smiles
thunder eyes and rock fists
they hide their heavy hearts
with shrouds of smoke
like small-featured bride faces
behind heavy veils
Holding their precious gaspers
between 2 fingers,
elegantly, the way they saw
james bond and models in glossy magazines do it
There are no children here,
just the lost and the lonely,
the ones who wear such solid masks
They’re all looking for some form of redemption,
but they'll settle for attention
Faith, on the other hand,
is a language they don't speak

Their love for each other
is not sweet and childish
it's a collision of souls,
a necessary train wreck
a desperate tempest
to survive the deadly drone of school
it can't be done alone
regroup, collect, stick together,
collide

Their arguments and apologies
have the tragic tone of ancient rome
empires rising and falling

I hear them bicker
and argue and talk
with echoes of prayers in their voices
please see me, please hear me
please validate my existence

Debating
American Spirit, Malboro, Camel
the intricacies of the taste
they taught themselves to love

To me every joke sounds like a hymn
every nervous pair of hands
the brittle after-math
of broken promises
chaotic thoughts tumbling like dust in the wind

I know they are different
but they are human and young
and perhaps they are like me
Maybe they too
have fears
maybe they too awaken in the dead of night
sweating and confused

I can see them now, drifting in and out of focus
dragging their reluctant shadows
into school and out
Frail bodies running on caffeine and nicotine
pain, boredom, indifference and panic

You can tell they long for solace
in the way they hold their coffee
tenderly, fingers wrapped round
the comforting shape and smell
and kissing their cancer sticks
with faint hopes of necromancy
and rebirth with every puff

***
they take turns objectifying each other,
feigning tenderness when really
they are just new bodies
interlaced for an hour or two
There is no emotion here
they're just kids who've always loved playing
the ***** Doctor game

Mothers
use their name as a cautionary
tale and
they're the kids
our parents warned us about.

I know they've given up on perfection
so they want to be some kind of dazzling cataclysm
a bright, flaming disaster, a lovely wreck
they offer me a drag
but all I can think
is that rebellion isn’t a language
I know how to speak
All I can do is write this poem
which is both a eulogy
and an obituary



                                                     ­           I love them.
I love them because I know each of them is a work in progress,
because I know each is shattered in a sense
because they're just souls searching for a voice.
I love them because I'm starting to see
beyond the archetype-- a true expansiveness.
And I love them because the smell of cigarette smoke
reminds me of afternoons in France,
sitting on the curb of my dying grandfather's home
and watching the passer-by stroll through
the pavements.

I love them because everyone needs a place,
and they know that.

Their parties are an emergency exit.

They're a lighthouse for the lost.

There to language and I are leave they out can no a don't
of do diseases beautiful speak

Their focus
dragging is crueler corpse

Pulling love their write
than off for reluctant this the clear each shadows
into poem
which ones crinkling other
is school is we cellophane not and both self-inflict shiny sweet out
Frail a
but silver and bodies eulogy
and I foil
with childish
it's running an still nimble a on obituary

find fingers collision caffeine ­ myself
thirsting and
sliding of and I for a souls nicotine
pain love the single
a boredom them bottle
and cigarette
out necessary indifference
you of train and ­ still the wreck
a panic

You I find pack
and desperate can love the slipping tempest
to tell them beast it survive they because in into the long
I your their deadly for know heart
begging lips
It drone solace
in each to fits of the of be so school
it way them smothered effortlessly can't they is in so be hold a smoke

They easy
they've done their work sneak been alone
regroup coffee
tenderly in out repeating collect fingers progress to the stick wrapped
smoke same together round
the ­ their motion
collide

Their comforting because cigs
between for arguments shape I classes
just years and and know another now
sparking apologies
have smell
and each insolence the kissing is another lighter tragic
their shattered act
The tone cancer in of small of sticks
with a audacity
another flame ancient faint sense
fleck erupts
promising rome
empires hopes ­ of relief rising of because rebellion
The and necromancy
and they're way sweet falling

I rebirth just to taste hear with souls express of them every
searching their nicotine bicker
and puff
***
they for contempt
a trickling argue take a way
down and turns voice to into talk
with objectifying
say the echoes each ­ **** back of other I you
to of prayers
feigning love the their in tenderness them
government throats their when because and
They voices
please really
they I'm the smile see are starting educational

Behind me just to system
and stone please new see
to gargoyle hear bodies
interlaced ­ the smiles
thunder me
please for beyond clockwork eyes validate
an the holding and my hour archetype-- them rock existence

Debating
American or a back
from fists
they Spirit two
There true a hide Malboro is
expansiveness death their Camel
the no
they heavy intricacies emotion ­ secretly hearts
with of here
they're long shrouds the just I for
Because of taste
they kids love i smoke
like taught who've them think
small-featured themselves always because at bride to loved the least faces
behind love

To playing smell a heavy me
the of few veils
Holding every ***** cigarette of their joke Doctor smoke
them precious sounds game

Mothers
use ­ know
that gaspers
between like their reminds it’s 2 a name me still fingers hymn
every as of a
elegantly nervous a afternoons suicide the pair cautionary
tale in
even way of and
they're France if they hands
the the
it’s saw
james brittle kids
our ­ in bond after-math
of parents sitting slow and broken warned on motion
And models promises
chaotic us the every in thoughts about curb cigarette
is glossy tumbling

I of a magazines like know my calming do
dust they've dying coffin it
There in given grandfather's nail
I on ­ are children know perfection
so and too here they they watching young
to

just are want the drink the different
but to passer-by or lost they be stroll purchase
their and are some through
ambrosia the human kind ­ and lonely and of the tabacco
the young
and dazzling pavements treasures
Yes ones perhaps cataclysm

I they who they bright love are wear are flaming them young such like disaster because minors
but solid me
Maybe a everyone they’re masks
They’re they lovely needs already all too
have wreck
they a afraid looking fears
maybe offer place of for they me
and growing some too a they too form awaken drag
but know old of in all that to redemption the I

Their die
but dead can parties young
soon they'll of think
is are they'll settle night
sweating that an get for and rebellion
emergency withered attention
Faith confused

I isn’t exit

They're and on can a a wrinkling
and the see language
I lighthouse they other them know for won't hand now how the be
is drifting to lost
able a in speak
All

They say that lightning strikes are one in a million.

Then how is it that every time

you hold my hand

or stare into my blushing face,

that a jolt,

of pure electricity

runs through our shared connection,

bound in tiny intricacies in our veins,

restless in our hearts,

our minds?

I would love to believe that,

that lightning only strikes at impossible odds-

but I can't,

not while I am touching you;

my own heart is a live wire and jumping into my throat

with the raw voltage

coursing through me-

terrifying,

exhilarating,

breathtaking-

and belies the science I know

will disagree with me.

It can never know

the passion of traveling at love's breakneck speed

believing in someone else,

trusting them to catch you when you burn up

or to push you up when you can't remember the light.

It could never know the terrible loss of energy

when the one you love hurts,

speared by insensitive sparks.

It could never know

life in all its tiny fractured facets,

believing that one answer is all that is needed-

that lightning is impossible to contain.

I laugh at the sheer ludicrousness though-

Me?

A human lightning strike?

ABSURD.

But you take my hand again,

promising so many good moments ahead,

so many beautiful ideas

and dreams together,

and my heart leaps-

flying and flipping in ecstasy-

and I know-

Lightning strikes are one in a million,

and I was lucky enough to be struck by yours.

{Chorus.} Come praise Colonus' horses, and come praise
The wine-dark of the wood's intricacies,
The nightingale that deafens daylight there,
If daylight ever visit where,
Unvisited by tempest or by sun,
Immortal ladies tread the ground
Dizzy with harmonious sound,
Semele's lad a gay companion.
And yonder in the gymnasts' garden thrives
The self-sown, self-begotten shape that gives
Athenian intellect its mastery,
Even the grey-leaved olive-tree
Miracle-bred out of the living stone;
Nor accident of peace nor war
Shall wither that old marvel, for
The great grey-eyed Athene stareS thereon.
Who comes into this countty, and has come
Where golden crocus and narcissus bloom,
Where the Great Mother, mourning for her daughter
And beauty-drunken by the water
Glittering among grey-leaved olive-trees,
Has plucked a flower and sung her loss;
Who finds abounding Cephisus
Has found the loveliest spectacle there is.
because this country has a pious mind
And so remembers that when all mankind
But trod the road, or splashed about the shore,
Poseidon gave it bit and oar,
Every Colonus lad or lass discourses
Of that oar and of that bit;
Summer and winter, day and night,
Of horses and horses of the sea, white horses.

Do you not know that in every spec of dust
and in each groove carved into the floor
and in all the etches of your skin
there is a grand momentum
building up, waiting to collide
with the essence of you and I in mind,
like the intricacy of your fingernails
digging down
                      down
                               down
into the soul with the speed of light
and only you and I
               you and I in mind
hoping to send us to expressions portraying nothing
--the numbness! the abyss!--
It notices us screaming
but it doesn't give a ****
and in every spec of dust
and in each groove carved into the floor
and in all the etches of your skin
a growing force is inching towards
the walls.

Ghost Writer cries.

But you can't hear her.

Sometimes,
she can't even hear herself.
Or, at least,
she chooses not to;
she chooses to ignore
the sob caught in her throat
like a pill that's washed
down the wrong way.

Ghost Writer attempts
to swallow her sob
which then catapults
to the depths
of her stomach
where she can
never
reach it
(where she can never
fully tame it
to silence).

When Ghost Writer
studies her image
in the mirror,
she can't quite comprehend
the sight of her reflection.
The intricacies of
human life become blurred,
almost inconceivable.

Head tilts in
bemusement--
"so what ?"

Lashes flit against
shrinking pupils--
"these eyes are
vortexes of dream."

Breath respires from
mouth to mirror to fog
to--
"I am not real..."

Ghost Writer's body is
tethered to the earth,
but her soul dwells elsewhere.

Heart pleads,
tries to convince her
of her own existence,
pounding with the force
of a Goddess' blood
against skeleton-key ribs.

But heart cannot
get through to her.

Heart is padlocked,
too far removed from subject,
like the monkey's heart
that "hung" in the
rose apple tree.

Phantom heart
for Phantom Woman.

But it is unclear
if Ghost Writer is the monkey
or the crocodile's wife
in our fable.

Ghost Writer is hungry,
but for what exactly
she hungers for,
she does not know.
She only knows that
she is barren
like the eye sockets
children cut out of
white bedsheets on Halloween.

The colour has been stripped
from the canvas of her creation.

Ghost Writer is
an unfulfilled masterpiece
(something will always be
missing).

So she picks up her quill
to make sense of
this senseless emptiness.

She writes and
she writes and
she writes and--
"How prolific!" they say.

Yet,
all of these poems and
not a friend to her name.

Ghost Writer
sleepwalks through
the terror of this
loneliness.

She goes to grasp
the fingertips of those
she once knew--
those who once cared
(supposedly).  
Anchors to ground her
to the reality that
threatened to strand her.

A mass of beating vessels--
proof that, as long as they
are in her presence,
as long as they can offer her
the tentative connections
of their friendship,
she, too, is alive.

But when she reaches for them,
they pull away,
seamless as the air.

Ghost Writer breaks,
haunts the desolate
alleyways of her psyche
with the plagues of
her insecurities.
Self-esteem erodes
until she devolves
into her worst nightmare--

nothing.

Ghost Writer disappears
(this time without redemption).

She leaves no souvenirs behind
to perpetuate her memory,
no tangible mementoes.

She leaves behind
only that which
will not be destroyed,
by fickle, selfish hands:

She leaves behind the
Poetry.

For even long after the
Vanishing Act has
resolved itself to the relics of
what has  been lost,
Ghost Writer shall
always have the last word.