She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

I look again upon the sky as I have done so many times before.
To see the change of natures' palette as sun sinks beyond horizon's floor.

The blue of daytime sky and the wisps of white and mottled gray,
give-way to golden inlaid mauve upon red curtain as amber fades away.

Hues of golden yellow that were present short moments before,
now lost beyond the silhouetted landscape as if cast to distant shore.

Flame upon the heavens, cloud lit as if scattered, precious jewels.
Colours of natures palette so vibrant, disobeying all artistic rules.

silhouettes of birds in flight etched in black upon the fading light,
All traversing in rapid beat of wing, to seek shelter from the night.

Trees and distant vistas mere shadows where sun did slide away,
as palette welcomes the new nighttime bidding farewell to passing day.

This world is a kaleidoscope,
Of plaster in my fingers,
And walls in pieces

~ Ode to Spring ~

Cherry blossoms filled with bloom
rhododendron’s sweet perfume
warming winds feign summer’s breeze
songbirds singing from the trees

Open windows, déjà vu
sunsets filled with graceful hues
families gather on their strolls
Mother Nature for the soul

Baseball season at the park
evenings lifted from the dark
daylight savings' finally here
patios for wine and beer

Cleaning house and planting seeds
rebirth fills the days and deeds
picnic baskets, hummingbirds
poets find their way in words

Kaleidoscope of bedding plants
shorts in favour over pants
farmers markets, garage sales
power-wash the decks and rails

Hiking, tennis, gardening
inhale the freshness of the spring!
painters, sculptors shape their art
gather here with grateful hearts

Crystal lived alone in the cabin Ray had built for her. Ray had left long ago but she thought of him often and sometimes went to see him in the city. She was an artist and a dabbler in many fields. Her house was a kaleidoscope of stained glass windows and half finished art projects. It was built almost entirely of wood with a beautiful stairway to a loft bedroom replete with a skylight window on the stars. Set in the mouth of a valley next to a clear stream the cabin looked almost as if it had grown there.

Crystal spent most of her time on her art projects, in fact she made her living that way. She was well known for the macabre nature of her works and they sold well at the local art fairs. Most of the scenes she painted could not possibly have existed on earth. Take for example the orange sky and purple mountains of Mariners Delight or the river of blood in Cosmic Conception.

Often Crystal would meet Ray at the art shows and they would discuss his books or her latest works. It was just such an occasion that preceded the first of her dreams.

Although Crystal had often dreamt of playing in a large meadow surrounded by reflections of her art work this dream had been different. She awoke from a scene in the woods where she had been the object of a grotesque conclave of creatures almost beyond description. There had been a huge goat like creature leading a chant, "Rada nema nestos Yreba, Rada nema nestos Yreba", for a group of creatures that resembled animals. There was a black toad sitting on a rock of seemingly impossible crystalline form, while an agile spider danced on the spokes of its luminous web above her. The smell of blood, the heat of the fire, and the constant and oppressive chant, "Rada nema nestos Yreba, Rada nema nestos Yreba" with all eyes directed at her. She woke with a start, it was early morning, her bed was a tangled mess, and she was covered with sweat. She felt she could almost smell wood smoke, and somewhere in her mind she could still hear the echos of the horrible chant.

It wasn't until almost a year later that the dream repeated itself. She had just completed what she considered her greatest work, a large mural like painting called Id Conclusion. It was a matrix of human forms in contorted and deformed conditions against a backdrop of misty images of human holocaust, war machines, and atomic clouds. She had gone to bed in a storm of thoughts on human depravation and greed. The scene was the same, the spider, the goat, the half human animals, all seemed the same, except for the chant, it was different. "Rada nema nestos Yreba, Raga mantra nestos reale, Yreba Yreba Shiva kommt da." Lightening cracked and a creature appeared. He seemed a man but was built more like a large monkey. Light seemed to follow him like an aura. He was the obvious master of the conclave and all stood back at his approach.

Crystal was lying on the stone altar in the center of the glade and although not bound she was incapable of motion while held in Yreba's gaze. That this creature was Yreba was obvious since all had bowed down now and the chant had changed, "Yreba Yreba teach us to grow." Crystals eyes were glazed and her naked body shown in Yreba's light. All her past works were floating across her mind like a collage. Lost in ecstasy she responded to his aggression like a wanton beast, screaming and writhing in the flow of his energy.

She woke to find her cabin in shambles and she was lying in the center of the living room on the floor, she panicked and ran to her car, slammed it into gear, and sped off down the road.

Ray was sitting in his office at the University that morning when Crystal burst into the room. "Ray, Ray, I've had a dream, a horrible dream, it was, I was!" "Slow down Crystal! You've had a what?" said Ray. Crystal sat down in a ball of frenzy and continued.

About an hour later Crystal had finished her story. Ray spoke, "So you say this is only the second time you've had this dream. Tell me more about Yreba. Does he resemble any of your art works?" "No", she said, "He seemed a lot more like that creature you told me about that day we were discussing witchcraft. The one who was supposed to be the personification of ****** desire evoked for the *** ****** of the ancient Persians."

Ray walked to his bookshelves (he was a professor of ancient mythology and religions) and pulled out a book called Necromancer by Abdule Azerod. "As I recall" he said "that creature was also a god of fertility." He thumbed slowly through the book, "yes, here it is. What did you say this creatures name was? Yreba? Very strange that's almost exactly this Persian deities name, Youruba. It seems he was evoked every year on the vernal equinox to assure ****** reproductivity and if you think that's frightening, feature this, last night was the vernal equinox." Crystal was stunned. "Do you think there's a connection" she stammered? "Don't be silly girl, this was three thousand years ago. Why don't we drive out to your cabin and see if we can find some clues."

Twenty minutes later they were standing in Crystal's cabin. What had seemed so disorderly to Crystal in the morning was now clearly a purposeful state of order. All of her sculptures were arranged neatly on the stairs to the loft, and her pictures were arranged so as to face the spot on the floor where she had awakened. On the floor where she had lain was a large five pointed star. "What does it mean Ray?" "I think it's a pentagram" he stated. "Is anything missing?" "Not that I can see" she said. "I don't think we had better stay" he said, "Find what you need and we'll go back to my house. You can stay there until we figure it out."

Crystal never returned to the cabin. Ray sold it for her and bought her a new house in the city.

Crystal got sick a few months later. She was sitting in the doctors office now awaiting his return. "I have good news" he said. "Good news" Crystal groaned. "Yes" he said, "Your pregnant."

you say you love me
yet it is small and it fades
my mind takes it
and it blows it up
tries to copy it, flip it, turn it
morph it into something bigger
it tries to change the hues
make it a little less cold
and maybe when it's done
it'll finally be what I've always thought love was supposed to be
magnificent
breathtaking
mesmerizing
like watching the solid blue of the sky turn
red
orange
yellow
pink
purple
we could be the picture perfect moment everyone wants to see
we could be perfect
let's be perfect before the sky goes

black.

black, void of color

black, void of love.

you say you love me
yet it is small and it fades
my mind takes it
and it blows it up
tries to copy it, flip it, turn it
morph it into something bigger
it tries to change the hues
make it a little less cold
but

i think the kaleidoscope is broken
it's not getting brighter anymore
i'm waiting for you to take my breath away
but instead i'm watching you drift away
like the colors of the sky all fading to a void black

like the colors of the sky,
soon you'll be gone,
too

You are a kaleidoscope my child

A glimpse into the multitude of colours

That shine brightly like the stars

Every angle that it is twisted in

Forms a new magnificent presence

Celebrate your mistakes today

For they are not what they seem

They celebrate you, a masterpiece

Images swirling changing hues
memories fresh, me and you
kisses, looks, touches breathless
deeper meaning, crossing thresholds
mental snapshots changing focus
always brings me back to us
life stands still all around
while we tumble in a kaleidoscope

She is equipped with sensitive *******
and those other secret places
that ladies give out as prizes
to deserving guys as long as
they adopt the right disguises
of gods, gurus, intellectual giants,
goats, children, father figures, macho brutes,
sugar-daddies, supermen, seminal vessels,
house-repairers, jar openers, jocks, hate objects,
handy shoulders to cry on, emotional support systems,
sensitive, intuitive, yet strong silent types
who can also pay the bills,
tall dark and handsome total strangers,
toy boys, clowns, jugglers, jokers, millionaires,
wood choppers, ******* removers,
bottomless reservoirs of reassurance
or just plain spunky studs when the moon is right.
In fact, anything but woffly wimps.
Oh God, no.  Anything but woffly wimps.
Yes, but what about stoic, steadfast SNAGS,
you know, the Sensitive New Age Guys
who won’t face-shift for a ****?
Yes, well, let's try to sum all this up here right now.
I think that the woman is dripping
with a brimming reservoir
of luscious and sensitive resources on tap for  
the man who can figure out her cosmic kaleidoscope  
of swirling dreams and desires,
which is definitely not to say she can’t be totally independent.
Although please don't be confused.
Friendly boy-next-door types who are handsome,
aren't too hairy, who like to laugh, who have a boyish braggadocio,
who are students, who appear to be intellectuals,
who are not nerds,
and who can **** it in the kitchen, who  can be oh, so cool,
who can convince a maiden that she is in distress,
and is in need of rescuing, while he has
a swaggering hard-on will do, too.
Oooh. You devil.
And if you think this poem is misogynist, misanthropic or myopic,
well, I’ve been around and by now, well,
I really should be panoptic
because I’ve seen all the fads,
and really, it’s sadly too bad
about those poor old
earnest SNAGS.
But you know what?
I don't think I understand anything, because
I'm really a victim of worshiping women.
I'm bedazzled and as blind as the next man, and
yes,
I'm just happy whenever I'm with them.

pictures from
this new telescope
unveiled
glimpses of
an early universe
in spirals
clusters
and clouds
      of colour
amidst
an ever-changing
luminescent haze
stretched across
the bespeckled
vastness of black;
a cosmic dance
of light
through time
and space
both answering
and posing
countless potentials

even so
it is difficult
not to compare
these images
with what
can be seen
by looking through
a child's kaleidoscope

I wish I was a dragonfly,
Blue in the shimmering sun
Settling on the tropical palms,
When my breeze guided journey was done.

The tips of my wings would softly skim
The water of the pool,
A microscopic dragon in flight
My eyes, two kaleidoscope jewels.

My family would have existed for three million years,
Or more,
But I shall glide for just six weeks,
Enough time to see, what’s worth flying for.

The glimmer in his hair, those kaleidoscope eyes,
Isn’t he lovely?
With lustre and humid afternoons
We jumped on plastic sheeting
Till our cyclist’s thighs and drummer’s fringe
Ached for the next day’s meeting.

Yen for one such as you,
Sidled up in the overtaking lane.
A flashing red passed me by, mouthing
‘Mother and child reunion is just a song.’

And with that I wished for you,
Non-existent, imaginary you.

But for now, marmalade sticks together
A household of three companions
As we wait for our January highs
And commiserate November rains.

I’m the one of them who wishes
That she could sing Wonder’s song aloud
To you. Imaginary, non-existent you.

The color green inspires
Thoughts
of all that's still to grow

The color yellow
like the sun
Warms natures earth below

Purple covers acres of woodland
In the spring

In the form of pretty blue bells
Amongst the birds that sing

Pink apple blossom trees
Sway gently in the air
As their petals leave a trail
Of divine beauty everywhere

Orange red and lilac
Not forgetting those
Each and every colour
Is found within the rose

A kaleidoscope of colors
Ignites this world
On which we stand

(There for us to marvel)

Touched by gods

Almighty hand

The music fades
Suddenly murky as it plays 
In the background
Like the dancers

Strobe lights flash
Leaving us like ash
Fists still pumping
And we're somehow jumping 

As I'm spinnin' 'round,
Rooms whirling 
Cause I'm falling down
Soon I'll hit the ground

This kaleidoscope keeps turning
so I'm learning
Just like a merry-go-round
And soon I'll be never again to be found

Lost control
And I don't feel whole
Sensation so numb 
Yet I still hum

i don’t know how someone as small as me
with bones that break at the sight of heat lightning
and heart strings that thread apart at the sound of his voice
could make anyone feel like the sun shines brighter
through kaleidoscope eyes—
you’re okay if it brings out the freckles on your face,
and you feel good, you feel alive
you say i showed you how to love in a new way,
that i taught you to be so much more okay with your tummy,
“it’s been very freeing and life is a lot better, thank you,”
but i feel like i can’t say you’re welcome
because i am a messy cliché of imperfect scraps and hypocrisy
loosely sewn together with
“you are strong you are strong you are strong,”
but i feel so weak i feel so weak i feel so weak
and i am not steady hands, they shake like
wet dogs after kiddy pool baths,
i am flower seeds that forgot how to bloom,
trapped below the surface of a garden that feels like quicksand
and i’m sorry but you don’t see all the mistakes i make,
all the words i’ve preached that look back at me
and laugh when they see
what i feel, what i think, who i am behind closed doors,
i’m sorry.
you keep hanging medals around my neck, and
they’re so heavy, and i don’t know
what to say besides i love you
when you speak words of adoration,
but please do not praise me, i am not good.

the memories you find
at the very bottom of
your brain
from when you were
just a little seed of a
person
it's like looking at the world
through a kaleidoscope
colors
shapes
they almost seem to fit
together in a
puzzle like way
but mostly it's strange
to see that you've
changed so much
it's even stranger to
find that you
haven't changed
at all

♥
              Kaleidoscope

Prism's from God's chandelier
Form in the atmosphere
Spectrums that float into view
Offering each and every hue
The center that makes you whole
Revealing the patterns of your soul
Permitting His light to shine through
The kaleidoscope of you
                 Dj

A serene cottage upon a dreary hillside
  Where my mind's listless galaxy of neurons
Synapse in the absolute darkness,
  Is painted in Victorian hues, cold and haunting.

Dejection rains down from the leeward sky
  With nothing harkened save for the ocean's
Stormy roar and a desolate lighthouse,
  Beckoning through the fog and memoirs of the past.

The deeper my soul is carved out with sorrow,
  The deeper the hollow can be filled with joy.
But alas, I feel nothing of joy but only a void
  Left by the dagger of yesterday's darkening tragedies.

I feel the rain soothe my skin and kiss my cheek
  Like the sweetest lover on midnight's embrace,
Yet my moth-eaten quilt of memories only seems
  Enough to shelter our legs but ne'er our feet.

My heart feels the warmth of an autumn fire,
  Kindling in the crisp rain, bleeding beneath
A rose where we burn in the endless torture
  Of our own despondence.

I can feel the blood in my veins turning to fire
  As I imagine her fingertips unzipping my spine
As though it were full of secrets and mysteries
  Unbeknowst to myself...

I can feel the inferno that rages within my aortic arch
  Every moment I imagine losing myself within her
Eyes, glimmering like an eclipse over a midnight
  Sea...the Sleepless Coventry.

She unlocks my secrets and weaves them in the bouquet
  Of tendrils in her hair like ribbons of crimson and light,
Waving in the vehement northerlies with numbing scents
  Of argan and spice.

Her body is but a canvas wrapped neatly around a
  Paper mache skeleton, the most beautifully tragic
Foundation known to humanity...
  
She arrives right on the equinox to set fire to my sorrow,
  Intoxicating me with her kiss and infecting me with her smile.

And so enters the conflagration of my soul,
  An annihilation of light, blackening my coronary
Artery whilst shooting smoke through my cinnamon
  Whiskey tainted veins.

'Tis hard to look through such a misconstrued lens
  As such, the Vena Cava Kaleidoscope...
Where the flames burn through the galaxy of neurons
  Expending the harrowing memories as its fuel.

I can see the magnetic alloy of her Cobalt eyes reflecting
  The fire that consumes me from the inside out.
She pulls on me like the moon pulls upon the tide
  As she whispers with her soft, enamored sigh.

I burn in my silent knowing, my liquid mind
  Awakening in fervor and strange euphoria.

I burn for the Aurora Infinite.

Part I


the plateau. the truest of them all. coast line. night spells and even controlled by the dream of meeting again. the ribbon of darker than light in your crown. No region overlooked. Third picnic table to the drive at Half Moon Bay, meet me there, decant my speech there. the table by the restroom block. While the tide is in show me your oyster garden, 3:00p.m. at half-light here in the evilest torments that have been shed.---------------door locked.  The moors. Cow herds and lymph nodes, rancorous afternoon West light and bending roads, the cliffs, a sister, the need to jump. There is nothing as serious as this. There is nothing nor no one that could ever, or would ever on this side come between. Who needs sleep or jokes or snow or rivers or bombs or to turn or be a rat or a fly or ceiling fan or a gurney or a cadaver or piece of cloth or a bed spread or a couch or a game or the flint of a lighter or the bell of a dress; the bell of your dress, yes, perhaps. Having been crushed like orange cigarette light in a pool of Spanish tongues. I feel the heave, the pull; not a yawn but a wired, thread-like twist about my core. Up around the neck it makes the first cut, through the eyes out and into the nostrils down over the left arm, on the inside of the bicep, contorting my length, feigning sleep, and then cutting over my stomach, around and around multiples of times- pulled at the hips and under the groin, across each leg and in-between each nerve, capillary, artery, hair, dot, dimple, muscle, to the toes and in-between them. Wiry dream-like and nervous nightmarish, hellacious plateaus of leapers. Penguin heads and more penguin heads. Startling torment. The evilest of the vile mind. The dance of despair: if feet contorted and bound could move. The beach off Belmont. The hills and the reasons I stared. Caveat after caveat at the heads of letters, on the heads of crowns, and the wrists, and on the palms. Being pulled and signed, and moved away so greatly and so heavily at once in a moment, that even if it were a year or a set of many months it would always be a moment too taking away to be considered an expanse, and it would be too hellacious to be presumptuous. It could only be a shadow over my right shoulder as I write the letters over and again. One after another. Internally I ask if I would even grant a convo with Keats or Yeats or Plath or Hughes? Does mine come close? Does it matter the bellies reddish and cerise giving of pain? Does it have to have many names?


"This is the only Earth," I would say with the bouquet of lilies spread out on the table. Are lilies only for funerals, I would never make or risk or wish this metaphor, even play it like the drawn out notes of a melody unwritten and un-played: my black box and latched, corner of the room saxophone. Top-floor, end of the hall two-room never-ending story, I'm the left side of the bed Chicago and I see pink walls, bathrooms, the two masonite paintings, the Chanel books, the bookshelves, the white desk, the white dresser, you on the left side of the bed in such sentimental woe, **** carpet and tilted blinds, and still the moors and the whispering in the driver's seat in afternoon pasture. Sunset, sunrise, nighttime and bike room writing in other places, apartments, rooms where I inked out fingertips, blights, and moods; nothing ever being so bleak, so eerily woe-like or stoic. Nothing has ever made me so serious.

Put it on the rib, in a t-shirt. Make it a hand and guide it up a set of two skinny legs under a short-sheeted bed in small room and literary Belmont, address included. Trash cans set out morning and night, deck-readied cigarette smoking. Sliding glass door and kitchen fright. Low-lit living room white couch, kaleidoscope, and zoetrope. Spin me right round baby right round. I am my own revenge of toxic night. Attack the skin, the soul, the eyes, the mind, and the lids. The finger lids and their tips. Rot it out. Blearing wild and deafening blow after blow: left side of the bed the both of us, whilst stirs the intrepid hate and ousts each ******* tongue I can bellow and blow.

Last resort lake note in snow bank and my river speak and forest walk. Wrapped in blocks and boxes, Christmas packaging and giant over-sized red ribbons and bows. Shall I mention the bassinet, the stroller, the yard, several rings of gold and silver, several necklaces of black and thread? I draw dagger from box, jagged ended and paper-wrapped in white and amber: lit in candle light and black room shadow-kept and sleeping partisan unforgettable forever. Do I mention Hawaii, my mother dying, invisible ligatures and the unveiling of the sweat and horror? Villainous and frightening, the breath as a bleat or heart-beat and matchstick stirring slightly every friends' woe and tantrum of their spirit.

Lobster-legged, waiting, sifting through the sea shore at the sea line, the bright tyrannosaurs in mahogany, in maple, and in twine over throw rose meadow over-looks, honey-brimming and warehouse built terrariums in the underbelly of the ravine, twist and turn: road bending, hollowing, in and out and in and out, forever, the everlasting and too fastidious driving towards; and it's but what .2 miles? I sign my name but I'll never get out. I am mocked and musing at tortoise speed. Headless while improvising. Purring at any example of continue or extremity or coolness of mind, meddling, or temptation. I rock, bellowing. Talk, sending shivers up my spine. I'm cramped, and one thousand fore-words and after words that split like a million large chunks of spit, grime, and *****; **** and more ****. I might even be standing now. I could be a candle, in England, a kingdom, in Palo Alto, a rook in St. Petersburg. Mottled by giants or sleepless nights, I could be the Eiffel Tower or the Statue of Liberty, a heated marble flower or the figure dying to be carved out. I'm veering off highways, I'm belittling myself: this heathen of the unforgettable, the bog man and bow-tied vagrant of dross falsification and dross despair. I am at the sea shore, tide-righted and tongue-tide, bilingual, and multi-inhibited by sweat, spit, quaffs of sea salt, lake water, and the like. Rotten wergild ridden- stitched of a poor man's ringworm and his tattered top hat and knee-holed trousers. I'm at the sea shore, with the cucumbers dying, the rain coming in sideways, the drifts and the sandbars twisting and turning. I'm at the sea shore with the light house bruise-bending the sweet ships of victory out backwards into the backwaters of a mislead moonlight; guitars playing, beeps disappearing, pianos swept like black coffees on green walled night clubs, arenose and eroding, grainy and distraught, bleeding and well, just bleeding.






I'm at the sea shore, the coastline calling. I've got rocks in my pockets, ******* and two lines left in the letter. I’m at the sea shore, my mouth is a ghost. I've seen nothing but darkness. I'm at the seashore, second picnic table, bench facing the squat and gobble, the tin roof and riled weir near the roadside. .2 and I'm still here with my bouquet wading and waiting. I'm at the sea shore and there's nobody here. My inches are growing shorter by the second, cold, whet by the sunset, its moon men, their heavy claws and bi-laws overthrowing and throwing me out. The thorns stick. The tyrannosaurs scream. I'm at the sea shore, plateau, left bedside to write three more letters. Sign my name and there's nobody here.

I'm at the sea shore: here are my lips, my palms (both of them facing up), here are my legs (twine and all), my torso, and my head shooting sideways. I'm at the seashore and this is my grave, this is my purposeful calotype, my hide and go seek, my show and tell, my forever. .2 and forever and never ending. I was just one dream away come and keep me. I'm at the sea shore come and see me and seam me. I'm without nothing, the sky has drifted, the sea is leaving, my seat is a matchbox and I'm all wound up. The snow settling, the ice box and its glory taken for granted. I'm at the sea shore and there's nobody here. The room with its white sets of furniture, the lilies, the Chanel, the masonite paintings, the bed, your ribbon of darker on light, the throw rug **** carpet, pink walled sister's room, and the couch at the top of the stairs. I'm at the sea shore, my windows opened wide, my skin thrown with threat, rhinoceri, reddish bruises bent of cerise staled sunsets. I'm at the sea shore and there's nobody here. I'm at the plateau and there isn't a single ship. There are the rocks below and I'm counting. My caveats all implored and my goodbyes written. I'm in my bed and the sleep never set in. I'm name dropping God and there's nobody there. I'm in a chair with my hands on a keyboard, listening to Danish throb-rock, horse-riding into candle light on a wicked wedding of wild words and teary-eyed gazes and gazers. Bent by the rocking and the torment, the wild and the weird, the horror and everything horrifying. There is this shadow looking over my shoulder. I'm all alone but I feel like you're here.



Part II




I wake up in Panama. The axe there. Sleeping on the floors in the guest bedroom, the floor of the garden shed, the choir closet, the rut of dirt at the end of the flower bed; just a towel, grayish-blue, alone, lawnmower at my side, and sky blue setting all around. I was a family man. No I just taste bits of dirt watching a quiet and contrary feeling of cool limestone wrap over and about my arms and my legs. Lungs battered by snapping tongues, and ancient conversations; I think it was the Malaysian Express. Mom quieted. Sister quieted. Father wept. And is still weeping. Never have I heard such horrifying and un-kindly words.-----------------------It's going to take giant steel cavernous explorations of the nose, brain cell after brain cell quartered, giant ******* quaffs of alcohol, harboring false lanterns and even worse chemicals. Inhalations and more inhalations. I'm going to need to leap, flight, drop into bodies of waters from air planes and swallow capsules of psychotropics, sedatives beyond recalcitrance. I'm requiring shock treatments and shock values. Periodic elements and galvanized steel drums. Malevolence and more malevolence. Forest walks, and why am I still in Panama. I don't want to talk, to sleep, to dream, to play stale-mating games of chess, checkers, Monopoly, or anything Risk involving. I can't sleep, eat, treaty or retreat. I'm wickeded by temptations of grandeur and threats of anomaly, widening only in proverb and swept only by opposing endeavors. Horrified, enveloped, pictured and persuaded by the evilest of haunts, spirits, and match head weeping women. I can't even open my mouth without hearing voices anymore. The colors are beginning to be enormous and I still can't swim. I couldn't drown with my ears open if I kept my nose dry and my mouth full of a plane ticket and first class beanstalk to elysian fields. It's pervasive and I'm purveyed. It's unquantifiable. It's the epitomizing and the epitome. I have my epaulets set for turbulent battles though I still can't fend off night. Speak and I might remember. Hear and it's second rite. Sea attacks, oceans roaring, lakes swallowing me whole. Grand bodies of waters and faces and arms appendages, crowns and more crowns and more crowns and more crowns and more crowns and I'm still shaking, and I'm still just a button. And I still can't sleep. And I'm still waiting.

It is night. The moon ripening, peeling back his face. Writhing. Seamed by the beauty of the nocturne, his ways made by sun, sky, and stars. Rolled and rampant. Moved across the plateau of the air, and its even and coolly majestic wanton shades of twilight. It heads off mountains, is swept as the plains of beauty, their faces in wild and feral growths. Bent and bolded, indelible and facing off Roman Empires too gladly well in inked and whet tips of bolder hands to soothe them forth.-----------Here in their grand and grandiose furnaces of the heart, whipped tails and tall fables fettered and tarnished in gold’s and lime. Here with their mothers' doting. Here with their Jimi Hendrix and poor poetry and stand-up downtrodden wergild and retardation. I don't give a ****. I could weep for the ***** if they even had hair half as fine as my own. I am real now. Limited by nothing. Served by no worship or warship. My flotilla serves tostadas at full-price. So now we have a game going.-----------------------------------------------------------­------------------------  My cowlick is not Sinatra's and it certainly doesn't beat women. As a matter of factotum and of writ and bylaw. I'm running down words more quickly than the stanza's of Longfellow. I'm moving subtexts like Eliot. I'm rampant and gaining speed. Methamphetamine and five star meats. Alfalfa and pea tendrils. Loves and the lovers I fall over and apart on. Heroes and my fortune over told and ever telling. Moving in arc light and keeping a warm glow.

the fish line caves. the shimmy and the shake. Bluegrass music and big wafting bell tones. snakes and the river, hands on the heads, through the hair; I look straight at the Pacific. I hate plastic flowers, those inanimate stems and machine-processed flesh tones. Waltzing the state divide. I am hooked on the intrepid doom of startling ego. I let it rake into my spine. It's hooves are heavy and singe and bind like manacles all over me. My first, my last, my favorite lover. I'm stalemating in the bathtub. Harnessing Crystal Lite and making rose gardens out of CD inserts and leaf covers. I'm fascinated by magic and gods. Guns and hunters. Thieving and mold, and laundry, and stereotypes, and great stereos, and boom-boxes, and the hi-fi nightlife of Chicago, roasting on a pith and meaty flame, built like a horror story five feet tall and laced with ruggedness and small needles. My skin is a chromium orchid and the grizzly subtext of a Nick Cave tune. I've allowed myself to be over-amplified, to mistake in falsetto and vice versa. To writhe on the heavy metallic reverberations of an altercated palpitation. The heart is the lonely hunted. First the waterproof matchsticks, then the water, the bowie knife, crass grasses and hard-necked pitch-hitters and phony friends; for doing lunch in the park on a frozen pond, I play like I invented blonde and really none of my **** even smells like gold.--------------------- There are the tales of false worship. I heard a street vendor sell a story about Ovid that was worse than local politics. As far as intermittent and esoteric histories go I'm the king of the present, second stage act in the shadow of the sideshow. Tonight I'm greeting the characters with Vaseline. For their love of music and their love of philosophy. For their twilight choirs and their skinny women who wear black antler masks and PVC and polyurethane body suits standing in inner-city gardens chanting. For their chanting. The pacific. For the fish line caves. For the buzzing and the kazoos. For the alfalfa and the three fathers of blue, red, and yellow. For the state of the nation. But still mostly working for the state of equality, more than a room for one’s own.-------------------------------------------------------------­------"Rice milk for all of you." " Kensington and whittled spirits."
(Doppelganger enters stage left)MAN: Prism state, flash of the golden arc. Beastly flowers and teeming woodlands. Heir to the throes and heir to the throng.----------------------------------------------------------­--------------- The sheep meadow press in the house of affection. The terns on my hem or the hide in my beak; all across the steel girder and whipping ******* the windows facing out. The mystery gaze that seers the diplopic eye. Still its opening shunned. I put a cage over it and carry it like a child through Haight-Ashbury. At times I hint that I'm bored, but there is no letting of blood or rattle of hope. When you live with a risk you begin at times to identify with the routes. Above the regional converse, the two on two or the two on four. At times for reasons of sadness but usually its just exhaustion. At times before the come and go gets to you, but usually that is wrong and they get to you first. Lathering up in a small cerulean piece of sky at the end turnabout of a dirt road

Picture yours, put it out
to your kaleidoscope.
Like the day at the full-blown noon
or the night on the cheek of the moon
a flame burning on the underlying dark
a dawn switches on the first light
a sun comes out of the night.
Visualise your latent one
put it on before your mirror!

Princely give the eyeballs a designer treat.
Paint your masterpiece at the day’s peep.
Hook the browsers at their first click.

I see you framed within the pane
of a stained glass window,
the warmth of dawn
crashing through its technicolor glaze
with the fervor of an untamed wave
of burning rays that peer into my soul
with kaleidoscope eyes

A con artist scurries

In white shadows

Fickle grooves she casts

In sequences

Imprinted by vainglory

Swift she fleets

Veiled with scars that

Were sequin rich

She spoke of ideologies

Subdued by violet myths

Exuding colorful flavors

Of classic deception

Her tattoos spelled

the wistful vowels of sin

Vexed by the onslaught

Of egregious inceptions

© 2011 (All rights reserved)

Upon a hill
stood a kaleidoscope
with a sign saying free.

You put your eye to the lens
and she began to crank around.

Inside was neon brightness
     and pastel hues,
as the crank turned the townsfolk in the scope began to tear apart
               torsos began to twist  free,     pull    apart...  Then boom!
Flailing  arms and legs and hands and feet.

Everything reminding me of a snow globe
I observed once for hours while taking acid.

So sharp some colours can be... sharp enough to shred a town

These neon and pastel body parts
keep bouncing  off the glass sides, all around.

Smearing them with hues of red and orange ,
Scraping them with electric purples and fireworks greens and yellow.

Be careful when you put your eye to a free kaleidoscope filled with black magic. You might not walk away the same.

the last time i waited for life, it hit me like a car crash.
glass ground into dust, bones playing off each other like
a skeletal rockshow; i was a human kaleidoscope.
when i finally opened my eyes again, i saw clouds in
the cracks on the sidewalk, found pieces of myself
smashed into concrete like a chalk-drawing anatomy.
skin met ground easily, like it always belonged there.

life must be the hit-and-run type, because i never saw
its eyes leave the road ahead; i never even saw it look
back. accidents happen, they will say, when they find me
unfolded like a street art snow angel. and maybe they do.
but more likely, the car windows were obscured by dirt
or the roads gave up on storing rain for the springtime.

or maybe it’s just me, a permanent fixture of boulevards
that smell like regret and missed chances, trying to predict  
changing street lights like they are signals for starting over.
just another halcyon disaster zone, entertaining the collision
of twin headlights on skin, the iceberg that devoured a ship
just for declaring that it had dreams to carry across the sea.

i will never stop turning myself inside out to see if the future
is something inscribed on dna, to watch the pieces of my soul
bleed into each other like wax in a technicolored lava lamp.
i will never stop filtering life through a maze of mirrors and
colors, tilting it this way and that until i can turn the pieces
of broken glass into keys that fit the lock of an escape car.

i will never stop.

We are all human beings
We all have our own lives
And different ways we live them
But each one of us is a writer
And this poem is for all of you

All of you who have virtues and use them in your writing
Those who use flashbacks and revisit mental photo albums

Beginning the story from the middle for that’s usually where you mind is at
Looking back then looking forward
Studying the past so you can be ready for what is to come

Recording catastrophes with a number two pencil

Tales and blurbs of tragedy
Caused by love or the lack there of

Rewards and punishment
Self-reliance and self-fulfillment

We are mere narrators
Humble, maybe unreliable
Equipped with numerous devices
Ironic Paradoxes
Red herrings
Fortuitous plot twists
Metaphors
Allegoric hyperboles
Analogies
Oxymorons and onomatopoeias

We sling Chekhov’s gun like bandits of literacy

We’re visionary revolutionaries
Revolution of the mind, body and soul

Changing ourselves and examining who and what we are
To become what we are destined to be
The best

Rejecting convention
Building our own paths
That lead to cliffhangers

Romantic lust
Comedic affairs
Dark massacres
Spiritual healing

Religious speculation
And the questioning of the way we, the people are being governed

We use the tools we are giving to sculpt new art that the world can stand in awe of

Personification
Symbolic imagery

Practicing pastiche with respect
Dionysian imitatio

Surreal reality
Defying mortality

Reiteration and retort

Using nature to express emotion and thought

Doubts and fear

Opposites
Morals and ethics

Satisfying curiosity

Parodying what we see
Embellishing just a little

We us word play to dive deep into the topic of conscious, subconscious and unconscious thought

Using satire to poke fun at the human condition,  its senses and perception of the universe to get readers thinking

Expressing our anger, our boundless joys
Desiring unknown pleasures

Seeing past the fallacies put before us

We write with great candor about war, personal conflicts, and self-abuse

With hinting undertones to give these ideas a second thought

We write of the supernatural, metaphysical mysteries
Outlandish, obscure mind boggling theories

As the clock ticks too fast for us and the characters we’ve created

Demolishing the fourth wall with a sledge hammer of defamiliarization

Epiphanies in a parking lot
Speaking in the 1st, 2nd or 3rd person

Using fun things like anagrams and palindromes
Candy for the lovers of such things

Spontaneity is an understatement
Nonsense is an insulting overstatement
Absurdity seems to fit just right

We are chameleons
We can write in various forms
Streams of gratifying consciousness
Brilliant prose
Beautiful poetry

And chose to use or merely acknowledge the ways to achieve these forms
Rhetoric, rhythm  and rhyme
Meter and mora
Conceit and consonance
Assonance
Intonation
Working with phonaesthetics  

And accenting aesthetics

A poem can or could not be organized as such
If we want to get technical about it

We have a poem
With a number of verses
And in those verses
Are lines
And those lines might rhyme
And have a meter or rhythm
Stressed or unstressed syllables

In contrast to that we may write
Without all of that and use emotion
Feeling and structure our work with what we feel is the best way
Line breaks
Pauses and puns
Silly similes
Ambiguous antonyms  
Intonation, linguistics
Fight against the fascists of grammar and conservative correctness

So, in the end we are writers of a rainbow kaleidoscope forms, devices, ways and ideas

But we alone are the ones who make the world think
Make it move
Revolt
Renew
Learn
Look back
Remember
Cry
Smile
Forget
Ease

Write my friends write until your mind explodes and your fingers bleed

Read, read and become inspired
Even if what you’re reading is bad cheese

Forget getting published it’s the writing that matters
Disregard the off-putting, critical chatter

And if you think no one reads
Than be the seed and sprout a tree of astounding artistry
And let’s begin a new movement composed of ideals that will hold true forever
I might be preaching to the choir but it must be said that poetry; literature isn’t dead

Fly by night,
Or the seat of your pants
Hang on tight,
May I have the next dance?
Take a deep breath,
Or a load off your feet,
Hey pretty mama,
May I sit in this seat?

Snoopy and Sloopy and Sloop John B too
Don’t you know
I think I love you?
All night long,
Nothing else can compare
Mickey Mouse, Elvis, Frankie, Annette
Down on the corner, cool
Cigarette.

All grown up
With no where to go
I left it to ******
But he didn’t know
Wally and Eddie
Were out selling drugs
Popeye and Brutus
Were two vicious thugs.

In the Fifities and Sixties:
It was hard to keep up
“They” fed us the Kool Aid
We drank from the cup.
Kent State and Woodstock
And a man on the moon,
Kaleidoscope childhood,
Ended too soon.
Phil Lindsey 9/16/15

A book left partly read by a voracious reader,
came in his dream and revealed the secret:
"Don't you think anything left incomplete
would mean much more than a definite finis?
When each new reader tries to fill the gap
the unwritten part gets richer than the other.
Here is a book left unfinished by the author,
whose life suddenly said "NO" in just two bold letters.
Does the book's self feel incomplete? Who knows?
But think of this: Does anything we know ever get completed?
Why bother about the changing patterns of this kaleidoscope
as we are only colored specks that turn and turn with the rest.
Time, that magical construct, hates perfection, (would you believe?)
though it loves to draw circles mistaken as perfect,
when it's really another form of limitation, by deceit.

my mind is a kaleidoscope of you
these memories and visuals of you are woven together so tightly
it is seemingly impossible to undo--
to undo
would mean to crash my mind into an oblivion
and erasing you from this;
i don't know how much of myself i would have left,
since apart of myself has come from you--
from you
i have learned to breathe in coexistence with another being
with half of that gone my lung will collapse--
collapse
down to the floor covered in shadows and darkness
next to the closet that holds my skeletons,
including yours,
this kaleidoscope once so colorful and thriving
dark and turning
plummeting me down beneath the ground

Sanguine and butterscotch
Wildflower and sanctuary
Beyond the iris there is a tempest
Subtle, but, in no way ordinary

Starshot and malignant
Orphan and kaleidoscope
Nimbus clouds blanket hazel skies
Fingernails catch on slippery slopes

Luminous and forthright
Emerald and venerable
Tiptoeing through the shards of life
She is shadow, but, never invisible

whatever i wrote, found below... sorry, enjoying my *** and ms. pepsi... i know that even when i sober up, it won't make any sense to me, because it only made sense to me in drunken trance; as in? ah man, i'm here for a good movie, even a "******" movie, and definitely some pop songs when i'm trying not to give some sort of intellectual critique when easing back, and glug-glug-glug some fire-water down; all these arguments? maybe tomorrow, maybe next-week, maybe (please god!) never; honestly, listening to these arguments, actually made me want to break my "ramadam" of not jerking off... i simply hard to ******* after the threshold was breached: too few feminine vowels in the argument, after all, consonants are *******, prompt, *****... never really bubbles of pleasure, but sure as ****, logical, brick on brick, and a mile high... still, gets to the point of being tiresome that you have to move the tongues into a down-south manoeuvre; and i can, i am excluded from the biblical onan quest, since i haven't been m.g.m'ed.

so hold on,
               atheists think about god,
and later talk about god          as a void?

wait wait, too much ***...

and theists don't think
about god,
  and later turn into automaton
kneeling pawns?

****, this is confusing,
i thought that *** would
clarify...
      evidently, it hasn't...

what's confusing is the anti-theist
movement,
what's the anti-atheist movement
look like?

   ******* alice, walking through
a mirror glass...
   tricks of sophistry -
   you really can't even wish
for a fishing-hook
   to rein that word in...

oh god i'm trying...

  so:

   an atheist is someone who think
about* god,
      but states that there is no god -
well, the +? at least he's not
in a coma, or brain-dead,
  or a vegetable,
   or someone seeking a comfy couch
after the sunday services.

and a theist? is that someone who
"thinks" about god,
but states that there is no "god"
(i.e. thought) to be concerned with
the argument, beginning with:
my purpose is to gain a mercedes-benz
and turn flashy before the congregation?

no, wait, this is turning into a spiral
i can't control...
    can someone get me in touch
with mid-west tornado hunters?
   i'd love to spend a life watching
those things...
     i'm literally a convert
    after watching the film tornado
starring
oh **** me, what a great ******* to movie,
with the late philip seymour hoffman,
ever imitate the oiled-up *******
while pulling your cheek skin from
your jaw?
     sounds about the same as
chewing a beef steak...

oh right, right, these people are serious
atheists,
         but can't fathom the basic
solipsistic delusion
  that we're not living in alaska,
on our own, hunting, gathering, whatever...
that's atheism for you,
  in a society: solipsism lite...
    sure, it's a great talking ground
compared to the ritual of prayer
and the act of kneeling and singing
hymns,
    but the one thing atheism or anti-theism
(whatever the **** that means)
       will not be, is? solipsism...
  
            i can't fake either a belief
or a disbelief in a god - but i can empirically
state that i'm sitting in a room, by myself
and writing on a blank piece of
pixel "paper"...
                     that's the nearest i get to
grasping a "solipsistic" attitude in terms
of a self-sufficient self-dependence...
    who the **** will take my trash away
with regards to pencil-sharpening
the atheistic argument?

    atheism shouldn't exactly lead toward
anti-theism, that's anti-poetry, and i can't stand
by that... if only atheism leads toward
solipsism, i could understand you,
you pseudo adams...
          women will never exactly succumb to
a form of atheism that men seem to try to
make pop...
      this atheism has no potency for
the kind of pop that music can provide people
with...

wait wait... i'm still confusing terms, aren't i?
seagull 1 says the same as seagull 100...
        that's going to be hard to formulate,
given that we don't know who
the first atheist was...
       buddha? buddha thought he was
a levitating head of a god attached to
a body of a human being...
  who was the first atheist?
                        so this is seagull 100 talking
with seagull 200, with seagull 1003...
     now... now i lost the plot...
   who's seagull 1?
               ah! seagull 0!
  there's no seagull to begin with...
           so why are we talking in seagull 1's
talk?
        
so atheists "think" about "god"
          while "theists" think "about" god...
the former translates as talk,
while the latter translates as worship...
       **** me, the "theists" invoking
   the "about" is a mind-****** -
  where is he? mecca?!
            yes, about as in coordinating...
    funny though, how atheists manage
to talk more "about" god,
   than theists get to pray "to a" god...
atheists can indulge in their activity
24 / 7... theists get to only do it for 1 hour,
every 7 days... what a scary comparison...
             and when i remember going to
church, i remember the comfort of
being able to yawn during the service...
whenever an atheist speaks,
   my ears turn into agitated antennas...
        can i cite a one word quote and end this?
*losers!