Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,
are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an

I

My love, this is the bitterest, that thou
Who art all truth and who dost love me now
As thine eyes say, as thy voice breaks to say—
Shouldst love so truly and couldst love me still
A whole long life through, had but love its will,
Would death that leads me from thee brook delay!

II

I have but to be by thee, and thy hand
Would never let mine go, thy heart withstand
The beating of my heart to reach its place.
When should I look for thee and feel thee gone?
When cry for the old comfort and find none?
Never, I know! Thy soul is in thy face.

III

Oh, I should fade—’tis willed so! might I save,
Galdly I would, whatever beauty gave
Joy to thy sense, for that was precious too.
It is not to be granted. But the soul
Whence the love comes, all ravage leaves that whole;
Vainly the flesh fades—soul makes all things new.

IV

And ’twould not be because my eye grew dim
Thou couldst not find the love there, thanks to Him
Who never is dishonoured in the spark
He gave us from his fire of fires, and bade
Remember whence it sprang nor be afraid
While that burns on, though all the rest grow dark.

V

So, how thou wouldst be perfect, white and clean
Outside as inside, soul and soul’s demesne
Alike, this body given to show it by!
Oh, three-parts through the worst of life’s abyss,
What plaudits from the next world after this,
Couldst thou repeat a stroke and gain the sky!

VI

And is it not the bitterer to think
That, disengage our hands and thou wilt sink
Although thy love was love in very deed?
I know that nature! Pass a festive day
Thou dost not throw its relic-flower away
Nor bid its music’s loitering echo speed.

VII

Thou let’st the stranger’s glove lie where it fell;
If old things remain old things all is well,
For thou art grateful as becomes man best:
And hadst thou only heard me play one tune,
Or viewed me from a window, not so soon
With thee would such things fade as with the rest.

VIII

I seem to see! we meet and part: ’tis brief:
The book I opened keeps a folded leaf,
The very chair I sat on, breaks the rank;
That is a portrait of me on the wall—
Three lines, my face comes at so slight a call;
And for all this, one little hour’s to thank.

IX

But now, because the hour through years was fixed,
Because our inmost beings met amd mixed,
Because thou once hast loved me—wilt thou dare
Say to thy soul and Who may list beside,
“Therefore she is immortally my bride,
Chance cannot change that love, nor time impair.

X

“So, what if in the dusk of life that’s left,
I, a tired traveller, of my sun bereft,
Look from my path when, mimicking the same,
The fire-fly glimpses past me, come and gone?
- Where was it till the sunset? where anon
It will be at the sunrise! what’s to blame?”

XI

Is it so helpful to thee? canst thou take
The mimic up, nor, for the true thing’s sake,
Put gently by such efforts at at beam?
Is the remainder of the way so long
Thou need’st the little solace, thou the strong?
Watch out thy watch, let weak ones doze and dream!

XII

“—Ah, but the fresher faces! Is it true,”
Thou’lt ask, “some eyes are beautiful and new?
Some hair,—how can one choose but grasp such wealth?
And if a man would press his lips to lips
Fresh as the wilding hedge-rose-cup there slips
The dew-drop out of, must it be by stealth?

XIII

“It cannot change the love kept still for Her,
Much more than, such a picture to prefer
Passing a day with, to a room’s bare side.
The painted form takes nothing she possessed,
Yet while the Titian’s Venus lies at rest
A man looks. Once more, what is there to chide?”

XIV

So must I see, from where I sit and watch,
My own self sell myself, my hand attach
Its warrant to the very thefts from me—
Thy singleness of soul that made me proud,
Thy purity of heart I loved aloud,
Thy man’s truth I was bold to bid God see!

XV

Love so, then, if thou wilt! Give all thou canst
Away to the new faces—disentranced—
(Say it and think it) obdurate no more,
Re-issue looks and words from the old mint—
Pass them afresh, no matter whose the print
Image and superscription once they bore!

XVI

Re-coin thyself and give it them to spend,—
It all comes to the same thing at the end,
Since mine thou wast, mine art, and mine shalt be,
Faithful or faithless, sealing up the sum
Or lavish of my treasure, thou must come
Back to the heart’s place here I keep for thee!

XVII

Only, why should it be with stain at all?
Why must I, ‘twixt the leaves of coronal,
Put any kiss of pardon on thy brow?
Why need the other women know so much
And talk together, “Such the look and such
The smile he used to love with, then as now!”

XVIII

Might I die last and shew thee! Should I find
Such hardship in the few years left behind,
If free to take and light my lamp, and go
Into thy tomb, and shut the door and sit
Seeing thy face on those four sides of it
The better that they are so blank, I know!

XIX

Why, time was what I wanted, to turn o’er
Within my mind each look, get more and more
By heart each word, too much to learn at first,
And join thee all the fitter for the pause
’Neath the low door-way’s lintel. That were cause
For lingering, though thou called’st, If I durst!

**

And yet thou art the nobler of us two.
What dare I dream of, that thou canst not do,
Outstripping my ten small steps with one stride?
I’ll say then, here’s a trial and a task—
Is it to bear?—if easy, I’ll not ask—
Though love fail, I can trust on in thy pride.

XXI

Pride?—when those eyes forestall the life behind
The death I have to go through!—when I find,
Now that I want thy help most, all of thee!
What did I fear? Thy love shall hold me fast
Until the little minute’s sleep is past
And I wake saved.—And yet, it will not be!

when thou hast taken thy last applause,and when
the final curtain strikes the world away,
leaving to shadowy silence and dismay
that stage which shall not know thy smile again,
lingering a little while i see thee then
ponder the tinsel part they let thee play;
i see the large lips vivid, the face grey,
and silent smileless eyes of Magdalen.
The lights have laughed their last;without,the street
darkling awaiteth her whose feet have trod
the silly souls of men to golden dust:
she pauses on the lintel of defeat,
her heart breaks in a smile—and she is Lust….

mine also, little painted poem of god

The time you won your town the race
We chaired you through the market-place;
Man and boy stood cheering by,
And home we brought you shoulder-high.

To-day, the road all runners come,
Shoulder-high we bring you home,
And set you at your threshold down,
Townsman of a stiller town.

Smart lad, to slip betimes away
From fields where glory does not stay
And early though the laurel grows
It withers quicker than the rose.

Eyes the shady night has shut
Cannot see the record cut,
And silence sounds no worse than cheers
After earth has stopped the ears:

Now you will not swell the rout
Of lads that wore their honours out,
Runners whom renown outran
And the name died before the man.

So set, before its echoes fade,
The fleet foot on the sill of shade,
And hold to the low lintel up
The still-defended challenge-cup.

And round that early-laurelled head
Will flock to gaze the strengthless dead,
And find unwithered on its curls
The garland briefer than a girl's.

God knows how our neighbor managed to breed
His great sow:
Whatever his shrewd secret, he kept it hid

In the same way
He kept the sow--impounded from public stare,
Prize ribbon and pig show.

But one dusk our questions commended us to a tour
Through his lantern-lit
Maze of barns to the lintel of the sunk sty door

To gape at it:
This was no rose-and-larkspurred china suckling
With a penny slot

For thrift children, nor dolt pig ripe for heckling,
About to be
Glorified for prime flesh and golden crackling

In a parsley halo;
Nor even one of the common barnyard sows,
Mire-smirched, blowzy,

Maunching thistle and knotweed on her snout-
cruise--
Bloat tun of milk
On the move, hedged by a litter of feat-foot ninnies

Shrilling her hulk
To halt for a swig at the pink teats. No. This vast
Brobdingnag bulk

Of a sow lounged belly-bedded on that black
compost,
Fat-rutted eyes
Dream-filmed. What a vision of ancient hoghood
must

Thus wholly engross
The great grandam!--our marvel blazoned a knight,
Helmed, in cuirass,

Unhorsed and shredded in the grove of combat
By a grisly-bristled
Boar, fabulous enough to straddle that sow's heat.

But our farmer whistled,
Then, with a jocular fist thwacked the barrel nape,
And the green-copse-castled

Pig hove, letting legend like dried mud drop,
Slowly, grunt
On grunt, up in the flickering light to shape

A monument
Prodigious in gluttonies as that hog whose want
Made lean Lent

Of kitchen slops and, stomaching no constraint,
Proceeded to swill
The seven troughed seas and every earthquaking
continent.

A cold coming we had of it,
Just the worst time of the year
For a journey, and such a long journey:
The ways deep and the weather sharp,
The very dead of winter.
And the camels galled, sorefooted, refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the terraces,
And the silken girls bringing sherbet.
Then the camel men cursing and grumbling
and running away, and wanting their liquor and women,
And the night-fires going out, and the lack of shelters,
And the cities hostile and the towns unfriendly
And the villages ***** and charging high prices:
A hard time we had of it.
At the end we preferred to travel all night,
Sleeping in snatches,
With the voices singing in our ears, saying
That this was all folly.

Then at dawn we came down to a temperate valley,
Wet, below the snow line, smelling of vegetation;
With a running stream and a water-mill beating the darkness,
And three trees on the low sky,
And an old white horse galloped away in the meadow.
Then we came to a tavern with vine-leaves over the lintel,
Six hands at an open door dicing for pieces of silver,
And feet kicking the empty wine-skins.
But there was no information, and so we continued
And arriving at evening, not a moment too soon
Finding the place; it was (you might say) satisfactory.

All this was a long time ago, I remember,
And I would do it again, but set down
This set down
This: were we led all that way for
Birth or Death? There was a Birth, certainly
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.
We returned to our places, these Kingdoms,
But no longer at ease here, in the old dispensation,
With an alien people clutching their gods.
I should be glad of another death.

You choked on chariots raw. Red egg yolk suppers, churned of the milk oceans this morning you kept.
The lintel of stone turned toward dusk. Some great dynasty of submissive spirits catering your morning
Out on a cart of muse, forms of heaven cannot even hear you. You are a soporific knot in the tale of your Old womanhood. In this infinite Tuesday morning your small black eyes, like an oil tanker toppling over The intense azure sea- shipwrecked, and lost.

Departing from your childhood you slurp Coca-Cola from a silver straw. From the corner store and inside Winter yawns. There is no face, only strikingly beautiful black hair. The body under you is at home in all
My hand's fingers have to fill. All the clothes that you could carry for the two-way adventure. There are
Never enough bubbles between your lips and the glass bottle you have. Only the score of the whistleblower. And the poor symphony you had prayed for into the dial-tone phone, the deep Wilderness, that stiff forever-ago budding from your coffee cup. Neurogenesis lifted from your Fingerprints and emblazoned into this lump of human ingenuity. The hopeless octave that cut us all short.    

Every short story that was left untold. There are the brief deaths recoiling in your spiritual architecture. The ****** of morphia has bourn me awake. Inside you are often unscathed, vanishing as some of Tonight's parts assemble you, on you blue is a beautiful color. The sweet retreat that gave you life or the bountiful deaths that counted you too cutely by your side. You are the sun in my black coat. Here is my sea, your sea, you'll see.

The time you won your town the race
We chaired you through the market-place;
Man and boy stood cheering by,
And home we brought you shoulder-high.

To-day, the road all runners come,
Shoulder-high we bring you home,
And set you at your threshold down,
Townsman of a stiller town.

Smart lad, to slip betimes away
From fields where glory does not stay
And early though the laurel grows
It withers quicker than the rose.

Eyes the shady night has shut
Cannot see the record cut,
And silence sounds no worse than cheers
After earth has stopped the ears:

Now you will not swell the rout
Of lads that wore their honours out,
Runners whom renown outran
And the name died before the man.

So set, before its echoes fade,
The fleet foot on the sill of shade,
And hold to the low lintel up
The still-defended challenge-cup.

And round that early-laurelled head
And find unwithered on its curls
The garland briefer than a girl's.

The horizons ring me like *******,
Tilted and disparate, and always unstable.
Touched by a match, they might warm me,
And their fine lines singe
The air to orange
Before the distances they pin evaporate,
Weighting the pale sky with a soldier color.
But they only dissolve and dissolve
Like a series of promises, as I step forward.

There is no life higher than the grasstops
Or the hearts of sheep, and the wind
Pours by like destiny, bending
Everything in one direction.
I can feel it trying
To funnel my heat away.
If I pay the roots of the heather
Too close attention, they will invite me
To whiten my bones among them.

The sheep know where they are,
Browsing in their ***** wool-clouds,
Gray as the weather.
The black slots of their pupils take me in.
It is like being mailed into space,
A thin, silly message.
They stand about in grandmotherly disguise,
All wig curls and yellow teeth
And hard, marbly baas.

I come to wheel ruts, and water
Limpid as the solitudes
That flee through my fingers.
Hollow doorsteps go from grass to grass;
Lintel and sill have unhinged themselves.
Of people and the air only
Remembers a few odd syllables.
It rehearses them moaningly:
Black stone, black stone.

The sky leans on me, me, the one upright
Among all horizontals.
The grass is beating its head distractedly.
It is too delicate
For a life in such company;
Darkness terrifies it.
Now, in valleys narrow
And black as purses, the house lights
Gleam like small change.

Thus, then, did Ulysses wait and pray; but the girl drove on to
the town. When she reached her father’s house she drew up at the
gateway, and her brothers—comely as the gods—gathered round her,
took the mules out of the waggon, and carried the clothes into the
house, while she went to her own room, where an old servant,
Eurymedusa of Apeira, lit the fire for her. This old woman had been
brought by sea from Apeira, and had been chosen as a prize for
Alcinous because he was king over the Phaecians, and the people obeyed
him as though he were a god. She had been nurse to Nausicaa, and had
now lit the fire for her, and brought her supper for her into her
own room.
  Presently Ulysses got up to go towards the town; and Minerva shed
a thick mist all round him to hide him in case any of the proud
Phaecians who met him should be rude to him, or ask him who he was.
Then, as he was just entering the town, she came towards him in the
likeness of a little girl carrying a pitcher. She stood right in front
of him, and Ulysses said:
  “My dear, will you be so kind as to show me the house of king
Alcinous? I am an unfortunate foreigner in distress, and do not know
one in your town and country.”
  Then Minerva said, “Yes, father stranger, I will show you the
house you want, for Alcinous lives quite close to my own father. I
will go before you and show the way, but say not a word as you go, and
do not look at any man, nor ask him questions; for the people here
cannot abide strangers, and do not like men who come from some other
place. They are a sea-faring folk, and sail the seas by the grace of
Neptune in ships that glide along like thought, or as a bird in the
air.”
  On this she led the way, and Ulysses followed in her steps; but
not one of the Phaecians could see him as he passed through the city
in the midst of them; for the great goddess Minerva in her good will
towards him had hidden him in a thick cloud of darkness. He admired
their harbours, ships, places of assembly, and the lofty walls of
the city, which, with the palisade on top of them, were very striking,
and when they reached the king’s house Minerva said:
  “This is the house, father stranger, which you would have me show
you. You will find a number of great people sitting at table, but do
not be afraid; go straight in, for the bolder a man is the more likely
he is to carry his point, even though he is a stranger. First find the
queen. Her name is Arete, and she comes of the same family as her
husband Alcinous. They both descend originally from Neptune, who was
father to Nausithous by Periboea, a woman of great beauty. Periboea
was the youngest daughter of Eurymedon, who at one time reigned over
the giants, but he ruined his ill-fated people and lost his own life
to boot.
  “Neptune, however, lay with his daughter, and she had a son by
him, the great Nausithous, who reigned over the Phaecians.
Nausithous had two sons Rhexenor and Alcinous; Apollo killed the first
of them while he was still a bridegroom and without male issue; but he
left a daughter Arete, whom Alcinous married, and honours as no
other woman is honoured of all those that keep house along with
their husbands.
  “Thus she both was, and still is, respected beyond measure by her
children, by Alcinous himself, and by the whole people, who look
upon her as a goddess, and greet her whenever she goes about the city,
for she is a thoroughly good woman both in head and heart, and when
any women are friends of hers, she will help their husbands also to
settle their disputes. If you can gain her good will, you may have
every hope of seeing your friends again, and getting safely back to
your home and country.”
  Then Minerva left Scheria and went away over the sea. She went to
Marathon and to the spacious streets of Athens, where she entered
the abode of Erechtheus; but Ulysses went on to the house of Alcinous,
and he pondered much as he paused a while before reaching the
threshold of bronze, for the splendour of the palace was like that
of the sun or moon. The walls on either side were of bronze from end
to end, and the cornice was of blue enamel. The doors were gold, and
hung on pillars of silver that rose from a floor of bronze, while
the lintel was silver and the hook of the door was of gold.
  On either side there stood gold and silver mastiffs which Vulcan,
with his consummate skill, had fashioned expressly to keep watch
over the palace of king Alcinous; so they were immortal and could
never grow old. Seats were ranged all along the wall, here and there
from one end to the other, with coverings of fine woven work which the
women of the house had made. Here the chief persons of the Phaecians
used to sit and eat and drink, for there was abundance at all seasons;
and there were golden figures of young men with lighted torches in
their hands, raised on pedestals, to give light by night to those
who were at table. There are fifty maid servants in the house, some of
whom are always grinding rich yellow grain at the mill, while others
work at the loom, or sit and spin, and their shuttles go, backwards
and forwards like the fluttering of aspen leaves, while the linen is
so closely woven that it will turn oil. As the Phaecians are the
best sailors in the world, so their women excel all others in weaving,
for Minerva has taught them all manner of useful arts, and they are
very intelligent.
  Outside the gate of the outer court there is a large garden of about
four acres with a wall all round it. It is full of beautiful trees-
pears, pomegranates, and the most delicious apples. There are luscious
figs also, and olives in full growth. The fruits never rot nor fail
all the year round, neither winter nor summer, for the air is so
soft that a new crop ripens before the old has dropped. Pear grows
on pear, apple on apple, and fig on fig, and so also with the
grapes, for there is an excellent vineyard: on the level ground of a
part of this, the grapes are being made into raisins; in another
part they are being gathered; some are being trodden in the wine tubs,
others further on have shed their blossom and are beginning to show
fruit, others again are just changing colour. In the furthest part
of the ground there are beautifully arranged beds of flowers that
are in bloom all the year round. Two streams go through it, the one
turned in ducts throughout the whole garden, while the other is
carried under the ground of the outer court to the house itself, and
the town’s people draw water from it. Such, then, were the
splendours with which the gods had endowed the house of king Alcinous.
  So here Ulysses stood for a while and looked about him, but when
he had looked long enough he crossed the threshold and went within the
precincts of the house. There he found all the chief people among
the Phaecians making their drink-offerings to Mercury, which they
always did the last thing before going away for the night. He went
straight through the court, still hidden by the cloak of darkness in
which Minerva had enveloped him, till he reached Arete and King
Alcinous; then he laid his hands upon the knees of the queen, and at
that moment the miraculous darkness fell away from him and he became
visible. Every one was speechless with surprise at seeing a man there,
but Ulysses began at once with his petition.
  “Queen Arete,” he exclaimed, “daughter of great Rhexenor, in my
distress I humbly pray you, as also your husband and these your guests
(whom may heaven prosper with long life and happiness, and may they
leave their possessions to their children, and all the honours
conferred upon them by the state) to help me home to my own country as
soon as possible; for I have been long in trouble and away from my
friends.”
  Then he sat down on the hearth among the ashes and they all held
their peace, till presently the old hero Echeneus, who was an
excellent speaker and an elder among the Phaeacians, plainly and in
all honesty addressed them thus:
  “Alcinous,” said he, “it is not creditable to you that a stranger
should be seen sitting among the ashes of your hearth; every one is
waiting to hear what you are about to say; tell him, then, to rise and
take a seat on a stool inlaid with silver, and bid your servants mix
some wine and water that we may make a drink-offering to Jove the lord
of thunder, who takes all well-disposed suppliants under his
protection; and let the housekeeper give him some supper, of
whatever there may be in the house.”
  When Alcinous heard this he took Ulysses by the hand, raised him
from the hearth, and bade him take the seat of Laodamas, who had
been sitting beside him, and was his favourite son. A maid servant
then brought him water in a beautiful golden ewer and poured it into a
silver basin for him to wash his hands, and she drew a clean table
beside him; an upper servant brought him bread and offered him many
good things of what there was in the house, and Ulysses ate and drank.
Then Alcinous said to one of the servants, “Pontonous, mix a cup of
wine and hand it round that we may make drink-offerings to Jove the
lord of thunder, who is the protector of all well-disposed
suppliants.”
  Pontonous then mixed wine and water, and handed it round after
giving every man his drink-offering. When they had made their
offerings, and had drunk each as much as he was minded, Alcinous said:
  “Aldermen and town councillors of the Phaeacians, hear my words. You
have had your supper, so now go home to bed. To-morrow morning I shall
invite a still larger number of aldermen, and will give a
sacrificial banquet in honour of our guest; we can then discuss the
question of his escort, and consider how we may at once send him
back rejoicing to his own country without trouble or inconvenience
to himself, no matter how distant it may be. We must see that he comes
to no harm while on his homeward journey, but when he is once at
home he will have to take the luck he was born with for better or
worse like other people. It is possible, however, that the stranger is
one of the immortals who has come down from heaven to visit us; but in
this case the gods are departing from their usual practice, for
hitherto they have made themselves perfectly clear to us when we
have been offering them hecatombs. They come and sit at our feasts
just like one of our selves, and if any solitary wayfarer happens to
stumble upon some one or other of them, they affect no concealment,
for we are as near of kin to the gods as the Cyclopes and the savage
giants are.”
  Then Ulysses said: “Pray, Alcinous, do not take any such notion into
your head. I have nothing of the immortal about me, neither in body
nor mind, and most resemble those among you who are the most
afflicted. Indeed, were I to tell you all that heaven has seen fit
to lay upon me, you would say that I was still worse off than they
are. Nevertheless, let me sup in spite of sorrow, for an empty stomach
is a very importunate thing, and thrusts itself on a man’s notice no
matter how dire is his distress. I am in great trouble, yet it insists
that I shall eat and drink, bids me lay aside all memory of my sorrows
and dwell only on the due replenishing of itself. As for yourselves,
do as you propose, and at break of day set about helping me to get
home. I shall be content to die if I may first once more behold my
property, my bondsmen, and all the greatness of my house.”
  Thus did he speak. Every one approved his saying, and agreed that he
should have his escort inasmuch as he had spoken reasonably. Then when
they had made their drink-offerings, and had drunk each as much as
he was minded they went home to bed every man in his own abode,
leaving Ulysses in the cloister with Arete and Alcinous while the
servants were taking the things away after supper. Arete was the first
to speak, for she recognized the shirt, cloak, and good clothes that
Ulysses was wearing, as the work of herself and of her maids; so she
said, “Stranger, before we go any further, there is a question I
should like to ask you. Who, and whence are you, and who gave you
those clothes? Did you not say you had come here from beyond the sea?”
  And Ulysses answered, “It would be a long story Madam, were I to
relate in full the tale of my misfortunes, for the hand of heaven
has been laid heavy upon me; but as regards your question, there is an
island far away in the sea which is called ‘the Ogygian.’ Here
dwells the cunning and powerful goddess Calypso, daughter of Atlas.
She lives by herself far from all neighbours human or divine. Fortune,
however, me to her hearth all desolate and alone, for Jove struck my
ship with his thunderbolts, and broke it up in mid-ocean. My brave
comrades were drowned every man of them, but I stuck to the keel and
was carried hither and thither for the space of nine days, till at
last during the darkness of the tenth night the gods brought me to the
Ogygian island where the great goddess Calypso lives. She took me in
and treated me with the utmost kindness; indeed she wanted to make
me immortal that I might never grow old, but she could not persuade me
to let her do so.
  “I stayed with Calypso seven years straight on end, and watered
the good clothes she gave me with my tears during the whole time;
but at last when the eighth year came round she bade me depart of
her own free will, either because Jove had told her she must, or
because she had changed her mind. She sent me from her island on a
raft, which she provisioned with abundance of bread and wine. Moreover
she gave me good stout clothing, and sent me a wind that blew both
warm and fair. Days seven and ten did I sail over the sea, and on
the eighteenth I caught sight of the first outlines of the mountains
upon your coast—and glad indeed was I to set eyes upon them.
Nevertheless there was still much trouble in store for me, for at this
point Neptune would let me go no further, and raised a great storm
against me; the sea was so terribly high that I could no longer keep
to my raft, which went to pieces under the fury of the gale, and I had
to swim for it, till wind and current brought me to your shores.
  “There I tried to land, but could not, for it was a bad place and
the waves dashed me against the rocks, so I again took to the sea
and swam on till I came to a river that seemed the most likely landing
place, for there were no rocks and it was sheltered from the wind.
Here, then, I got out of the water and gathered my senses together
again. Night was coming on, so I left the river, and went into a
thicket, where I covered myself all over with leaves, and presently
heaven sent me off into a very deep sleep. Sick and sorry as I was I
slept among the leaves all night, and through the next day till
afternoon, when I woke as the sun was westering, and saw your
daughter’s maid servants playing upon the beach, and your daughter
among them looking like a goddess. I besought her aid, and she
proved to be of an excellent disposition, much more so than could be
expected from so young a person—for young people are apt to be
thoughtless. She gave me plenty of bread and wine, and when she had
had me washed in the river she also gave me the clothes in which you
see me. Now, therefore, though it has pained me to do so, I have
told you the whole truth.”
  Then Alcinous said, “Stranger, it was very wrong of my daughter
not to bring you on at once to my house along with the maids, seeing
that she was the first person whose aid you asked.”
  “Pray do not scold her,” replied Ulysses; “she is not to blame.
She did tell me to follow along with the maids, but I was ashamed
and afraid, for I thought you might perhaps be displeased if you saw
me. Every human being is sometimes a little suspicious and irritable.”
  “Stranger,” replied Alcinous, “I am not the kind of man to get angry
about nothing; it is always better to be reasonable; but by Father
Jove, Minerva, and Apollo, now that I see what kind of person you are,
and how much you think as I do, I wish you would stay here, marry my
daughter, and become my son-in-law. If you will stay I will give you a
house and an estate, but no one (heaven forbi

1 Kings 6 King James Version (KJV)

6 And it came to pass in the four hundred and eightieth year after the children of Israel were come out of the land of Egypt, in the fourth year of Solomon's reign over Israel, in the month Zif, which is the second month, that he began to build the house of the Lord.

2 And the house which king Solomon built for the Lord, the length thereof was threescore cubits, and the breadth thereof twenty cubits, and the height thereof thirty cubits.

3 And the porch before the temple of the house, twenty cubits was the length thereof, according to the breadth of the house; and ten cubits was the breadth thereof before the house.

4 And for the house he made windows of narrow lights.

5 And against the wall of the house he built chambers round about, against the walls of the house round about, both of the temple and of the oracle: and he made chambers round about:

6 The nethermost chamber was five cubits broad, and the middle was six cubits broad, and the third was seven cubits broad: for without in the wall of the house he made narrowed rests round about, that the beams should not be fastened in the walls of the house.

7 And the house, when it was in building, was built of stone made ready before it was brought thither: so that there was neither hammer nor axe nor any tool of iron heard in the house, while it was in building.

8 The door for the middle chamber was in the right side of the house: and they went up with winding stairs into the middle chamber, and out of the middle into the third.

9 So he built the house, and finished it; and covered the house with beams and boards of cedar.

10 And then he built chambers against all the house, five cubits high: and they rested on the house with timber of cedar.

11 And the word of the Lord came to Solomon, saying,

12 Concerning this house which thou art in building, if thou wilt walk in my statutes, and execute my judgments, and keep all my commandments to walk in them; then will I perform my word with thee, which I spake unto David thy father:

13 And I will dwell among the children of Israel, and will not forsake my people Israel.

14 So Solomon built the house, and finished it.

15 And he built the walls of the house within with boards of cedar, both the floor of the house, and the walls of the ceiling: and he covered them on the inside with wood, and covered the floor of the house with planks of fir.

16 And he built twenty cubits on the sides of the house, both the floor and the walls with boards of cedar: he even built them for it within, even for the oracle, even for the most holy place.

17 And the house, that is, the temple before it, was forty cubits long.

18 And the cedar of the house within was carved with knops and open flowers: all was cedar; there was no stone seen.

19 And the oracle he prepared in the house within, to set there the ark of the covenant of the Lord.

20 And the oracle in the forepart was twenty cubits in length, and twenty cubits in breadth, and twenty cubits in the height thereof: and he overlaid it with pure gold; and so covered the altar which was of cedar.

21 So Solomon overlaid the house within with pure gold: and he made a partition by the chains of gold before the oracle; and he overlaid it with gold.

22 And the whole house he overlaid with gold, until he had finished all the house: also the whole altar that was by the oracle he overlaid with gold.

23 And within the oracle he made two cherubims of olive tree, each ten cubits high.

24 And five cubits was the one wing of the cherub, and five cubits the other wing of the cherub: from the uttermost part of the one wing unto the uttermost part of the other were ten cubits.

25 And the other cherub was ten cubits: both the cherubims were of one measure and one size.

26 The height of the one cherub was ten cubits, and so was it of the other cherub.

27 And he set the cherubims within the inner house: and they stretched forth the wings of the cherubims, so that the wing of the one touched the one wall, and the wing of the other cherub touched the other wall; and their wings touched one another in the midst of the house.

28 And he overlaid the cherubims with gold.

29 And he carved all the walls of the house round about with carved figures of cherubims and palm trees and open flowers, within and without.

30 And the floors of the house he overlaid with gold, within and without.

31 And for the entering of the oracle he made doors of olive tree: the lintel and side posts were a fifth part of the wall.

32 The two doors also were of olive tree; and he carved upon them carvings of cherubims and palm trees and open flowers, and overlaid them with gold, and spread gold upon the cherubims, and upon the palm trees.

33 So also made he for the door of the temple posts of olive tree, a fourth part of the wall.

34 And the two doors were of fir tree: the two leaves of the one door were folding, and the two leaves of the other door were folding.

35 And he carved thereon cherubims and palm trees and open flowers: and covered them with gold fitted upon the carved work.

36 And he built the inner court with three rows of hewed stone, and a row of cedar beams.

37 In the fourth year was the foundation of the house of the Lord laid, in the month Zif:

38 And in the eleventh year, in the month Bul, which is the eighth month, was the house finished throughout all the parts thereof, and according to all the fashion of it. So was he seven years in building it.

‘A cold coming we had of it,
Just the worst time of the year
For a journey, and such a journey:
The ways deep and the weather sharp,
The very dead of winter.’
And the camels galled, sore-footed,
     refractory,
Lying down in the melting snow.
There were times we regretted
The summer palaces on slopes, the
     terraces,
And the silken girls bringing sherbet.

Then the camel men cursing and
     grumbling
And running away, and wanting their
     liquor and women,
And the night-fires going out, and the
     lack of shelters,
And the cities hostile and the towns
     unfriendly
And the villages ***** and charging high
     prices:
A hard time we had of it.
At the end we preferred to travel all
     night,
Sleeping in snatches,
With the voices singing in our ears,
     saying
That this was all folly.

Then at dawn we came down to a
     temperate valley,
Wet, below the snow line, smelling of
     vegetation;
With a running stream and a water-mill
     beating the darkness,
And three trees on the low sky,
And an old white horse galloped in
     away in the meadow.
Then we came to a tavern with
     vine-leaves over the lintel,
Six hands at an open door dicing for
     pieces of silver,
And feet kicking the empty wine-skins.
But there was no imformation, and so
     we continued
And arrived at evening, not a moment
     too soon
Finding the place; it was (you may say)
     satisfactory.

All this was a long time ago, I
     remember,
And I would do it again, but set down
This set down
This:  were we led all that way for
Birth or Death?  There was a Birth,
     certainly,
We had evidence and no doubt.  I had
     seen birth and death,
But had thought they were different;
     this Birth was
Hard and bitter agony for us, like
     Death, our death.
We returned to our places, these
     Kingdoms,
But no longer at ease here, in the old
     dispensation,
With an alien people clutching their
     gods.
I should be glad of another death.

The horizons ring me like *******,
Tilted and disparate, and always unstable.
Touched by a match, they might warm me,
And their fine lines singe
The air to orange
Before the distances they pin evaporate,
Weighting the pale sky with a soldier color.
But they only dissolve and dissolve
Like a series of promises, as I step forward.

There is no life higher than the grasstops
Or the hearts of sheep, and the wind
Pours by like destiny, bending
Everything in one direction.
I can feel it trying
To funnel my heat away.
If I pay the roots of the heather
Too close attention, they will invite me
To whiten my bones among them.

The sheep know where they are,
Browsing in their ***** wool-clouds,
Gray as the weather.
The black slots of their pupils take me in.
It is like being mailed into space,
A thin, silly message.
They stand about in grandmotherly disguise,
All wig curls and yellow teeth
And hard, marbly baas.

I come to wheel ruts, and water
Limpid as the solitudes
That flee through my fingers.
Hollow doorsteps go from grass to grass;
Lintel and sill have unhinged themselves.
Of people and the air only
Remembers a few odd syllables.
It rehearses them moaningly:
Black stone, black stone.

The sky leans on me, me, the one upright
Among all horizontals.
The grass is beating its head distractedly.
It is too delicate
For a life in such company;
Darkness terrifies it.
Now, in valleys narrow
And black as purses, the house lights
Gleam like small change.

young lovers enthralled
in a passion that can
melt the deepest
Alpine snow cap

announce an intention
to join as one
till death do you part

the elders smile
at the audacity of
your grandiloquent
proclamation

youthful optimism
expressing pollyannish
sentiments born
of wistful hope

yet to learn the rules
of the vows of matrimony
and the endless sweet labor
required  to keep it alive and well

thus i pass on  this sage advice

when the baby cries at night
when the car won't start
when the rent bill is due
and you find yourself
a bit short

i wish you love...

when the cupboard is bare
and the desire to satiate
swelling hunger pangs
is overwhelming

i wish you love…

when you find yourself travelling
through roads that are
unfamiliar and foreboding

when you are hopelessly lost
in the darkest reaches
of the Black Forest

i wish you love…

as you grow as individuals
straining your relationship

when in laws become outlaws
and the pulls and pushes
of family and friends becomes
unfamiliar and misunderstood

i wish you love…

when resentments and insecurities
conspire to undermine trust

when greener pastures
pose a mirage of better things

i wish you love…

when oversight and neglect
leave you empty

when the luster of the
edelweiss bloom fades

when exasperation melts
the Alps greatest glacier
flooding everything you have

when the untended furnace
doesn't fire and the last
log is consumed

be patient
be diligent
be expectant
be kind

hold on to it
believe in it
practice it
trust it

may it bind you
in a perfect circle

and all your fondest
hopes and wishes
will be yours

i wish you love…

Stevie Wonder
Signed Sealed Delivered

Salutation for
Engagement Party
Maxine Lintel and
Glendon McCallum
Munich
11/29/13
jbm

foam floral caps, work of wet hydrangea,        

                          or pulse of caucasian lilacs in a sky-relieved frieze.        

                                   cambric pennons swag reconsidering      

                                          margins of wimpling burn,      

                                        wherein the stars…twiring stars,    

                                    the declining stars, moon and planets        

                                                            tur­ned--



                                      purchase light with morning-hands:        

                                         ­         green-bedizened;      

                                              amber trammeling bud.      

                                          absolve qualm suffusing tyre,      

                                             violet’s violent leniency--        

                                            a­nd feel, o’bask! in velvet      

                                                   ­ flume of veins,        

                                          as beams of conspiracy raise      

                                                  to­ post and lintel,      

                                         crutching a young god’s legs--



                                      and feel, o’supplicate!  bathe in      

                                                day’s anatomies,      

                                   til greave deposit in lacunary sleeves,    

                                   and a genuflecting sun bow eternally--

The house had an evil aspect as
It hung out over the street,
Casting a permanent shadow there
Where the market stalls would meet,
The first floor was half-timbered, with
The ground floor made of stone,
The windows were made of pebble glass
And the window frames of bone.

No one had lived in the house for years
Til the Robinson’s moved in,
A couple, straight from the wedding church
Where they’d cleansed themselves from sin,
They’d listened to all of the rumours that
The house had its share of ghosts,
But the cheapness of the peppercorn rent
Had influenced them most.

The house was built where a charnel house
Had stood in the days of plague,
Where later a debtors’ prison stood
Though its history was vague,
They said there had been a gallows there
With a trapdoor through the floor,
And the arm of the ancient gallows now
Was the lintel of a door.

But the Robinson’s had sailed right in
With a mop and a whisking broom,
‘In no time, it’ll be **** and span,’
Said Sally, within the gloom,
While Brad had opened the shutters then
To let all the light stream in,
‘We’ll flush the ghosts from their waiting posts
With a broom and a pound of Vim!’

They dusted down the old furniture
Left sitting since George the Fourth,
And turned the old oak table round
So the end was facing north,
‘But still there’s a dampness in the air,
And a tension that feels grim,’
Sally said, as they lay in bed,
And she clung, so close to him.

‘Are you sure that they can’t get in,’ she said
‘Now we’ve flushed them out in the street?’
But Brad was trying to understand
Why the bed was cold at his feet.
‘Why are the sheets so damp,’ he said,
‘And they’re cold, as cold as sin,’
Sally was shivering, fit to burst
Though the sun came streaming in.

They sat at the old oak table with
Their bowls of soup, home-made,
And Sally reached out to hold his hand
But he started back, dismayed,
The soup was thick in the serving bowl
It was still three-quarters full,
When a swirl in the murky liquid then
Revealed a grinning skull.

Sally shrieked, but she couldn’t speak
And Brad had held his breath,
‘We’ve got to get out of this house today,
We’re surrounded here by death.’
The shutters slammed on the windows and
The doors flew shut on their own,
And barring the pebble windows were
The frames that were made of bone.

The people out in the market heard
The screams at an early hour,
Looked knowingly at each other, said,
‘They have them in their power!’
And Brad was hung from the lintel when
They finally broke inside,
While Sally was dead by a grinning skull
In the dress of a new-wed bride.

David Lewis Paget

shapes of yr many most favorite possessions
people looming in the lintel browsing through the pockets
yr posthumous stare chisels down the bark

280 & Alpine
taking out the post
east alto, west alto
sandwiches and snickers bars

let there be pizza
where beds happily move
and there are no swing sets or cell phones
let there be pizza
eighteen year olds swinging from the rooftops to the pool

no music played to remember it by
yr handlers are too many now
lost in the green lasers and spotlights

there are only two hands to make this memory
the quiet dark does not take it, new mouths do not take it
old words tearing off the night

Stranger than me, or too much alike
some wrangle upon toilet papers
plastic cups out of place or lost time;
peering past, another wanders on.

Tinkling wires and rainbow faces
hearing, seeing, perchance aurific speaking
the namer among ten-thousand petty things
or squinting upon the verge of time, espy a sequal.

Step by step to round the universe
or being fell-swept away in cubboards
seem or act unseemly, like or dislike
played to the order in the round, circling about.

Why so familiar these drabbed tones of ant trumpets
or wineskins grown old to leak and sputter?
Tis the wish and will, holding like ****** to the ropes
great gales n frothing nothingnes storming on.

But We, blown upon the Aether of the Soul
a great conquest of rousing dignities;
here, under nooks, behind secret doors
or bounding past, lightning speed, relay some wonder.

Shock of waking, or dulcet tones in the Alarm of life
our shadows twist, there on the lintel of private hours
our care, held through the Night kinder endearments
then danced over reeling waves for sweet inspection.

Here unalone a look, a voice and laughter ring the ears
a crying out, or trebled inward sigh, too close to trembling-
Who is this Sojourn Friend?

Perhaps our best of self combined
no more allied to faithless days nor dark an empty smiles-
strange wastes some carelessness invents to wrack the hours.

But We, no stranger to the Sojourner's faith, Are One.

"New Plymouth"  

I
I, as a young woman, stand still
Like a ghost column in a Mausoleum  
Adjacent to the New Plymouth spit.  

I breathe in the invisible sugars of salt
And the stubborn incoherences
Of the sea washing green over layette white.  

The rocks are blunt teeth,
Fat and round like an old Frisco seal,
A Cerberus jaw barring me off

From fatal self-destruction.
What a laugh!
These flippants, these peacekeepers  

Have no idea, nor do
The gargantuan ships,
Walking on water like Jesus' feet.  

The sky is so pure and clean  
it's sectile, no clouds  
nor disturbances to be inhaled.  

II  
  

I hang like a death wish on the hotel's lintel;  
Outside copse's foliage joggle
And I think cold.  
  

The air is sullen and austere,
It knows what it's doing to me.
The air that kills, kills, kills.  
  

The radio stubbornly blubbers
More sheepish than a baby,
Confabulating the local rugby.  
  

I collapse like a sack of black potatoes.
I feel weirder than Pluto.  

I am an alien, an alien to the bulbous women
  
And silver lined suited men.  
The grand annunciation
"I hope you enjoy your stay"  
  
Makes my organs twist and puffer.  
It hurts, it hurts, it hurts!
This place cries for my demise.  
  
III
It's a rural community.  
Mothers in ghastly flannel and baby spew
swallow gossip like Communion tablets.  

The precious circulate the carousel,
Scoffing hot dogs like prepubescent piglets,
Sausages sliding like fat worms

And burning like hearts in an oven.  
The sizzling steam disintegrates
Like clouds of Statismospores

Spreading positively into ether.  
The sun beats like a muscle
Burning, burning, burning

My laundry-washed white.
I’m vulnerable.  
I was once pure and sweet like an Aryan,  

Now I am dying, dying, dying
From fat smiles curled like a snail
With grey fatty hooks under my eyes.  




IV  


Tiny bluestocking girls like me  
All congregate in the Library .
At last I am by myself.  

I still don’t feel at peace.  
My thoughts are frightening
When I am at my writing.  

They are even worse,
In fact deathly,
If I do not write.  

This climate of strange spacemen,  
This culture of monstrous noses
Has driven many women mad,  

Not excluding a woman like me.  
I’m bored to death, literally.
Now, now, I say,  

Carrying my golden bags of poetry,
“I love what will destroy me,
And hate what will heal me”.  


October 5th 2013

The day was perforated by a threshold
A distracted post and lintel technicality
All a part of this door I've been painting
It opens out
It opens up
Into joy
But while I was placing tiny brush strokes
In incremental positions
Adjusting for full light
You swung it wide open
Thankfully
You swung it wide open

Let's go!

I wish that we’d never found it now,
I wish that we’d stayed away,
Avoided the twisted mansion that
Was fashioned in Cromwell’s day,
But we were just a couple of lads
Out there, and having fun,
We wouldn’t have thought to change the world,
Nor hurt just anyone.

The place sat deep in a bluebell wood
Surrounded by a marsh,
I said, ‘Should we?’ and he said we should,
My friend was a little harsh,
We waded up to our knees out there
Until we reached the porch,
The rooms within were as dark as sin
Till Joe took out his torch.

The house had once been a splendid place
Though the floors were deep in mud,
Of fetes and ***** there was still a trace
Then the fields submerged in flood,
The house sank on its foundations then
No doubt, to cries and tears,
Its noble crew had deserted it
For all of two hundred years.

I raced my friend to the stairway that
Led up from the central hall,
Half of the rail had fallen away,
Was resting against the wall,
When up above in a tiny room
Stood a bureau, finely made,
Inlaid with delicate parquetry
That lay concealed in the shade.

But over the lintel of the door
Was the carving of a man,
His wings spread wide, with the sharpest claw,
He was from some evil clan,
His teeth protruded over his lip
And his eyes were fierce and black,
I caught at Joe and he almost tripped
But he shrugged, and turned his back.

And on the dust of the bureau lay
A long, fine feather quill,
I knew I shouldn’t disturb it there
But I thought, ‘I can, I will!’
And beside the quill was a manuscript
In an old and faded hand,
Calling for the death of a king
That I couldn’t understand.

I knew, I’d read in my history books
That a cruel, evil one,
A man called Oliver Cromwell had
Caused pain for everyone,
He’d raised a citizens’ army and
Had thought to **** the king,
But fell to the King’s Own Cavaliers,
Was beheaded in the spring.

I knew this, yet I still signed my name
With that awesome feather quill,
It seemed to have me so hypnotised
That I quite had lost my will,
So then when a roll of thunder shook
The house right through to the floor,
The man in black that was carved, alack,
Came bursting in through the door.

He snatched at the parchment manuscript
And let out a howl of glee,
Then screamed, ‘I’ve waited forever just
To play with your history.’
I know that you think the civil war
Took the head of a rightful King,
But how could I know the power of a quill
That could upturn everything?

David Lewis Paget

Hot breath creaks inside my chest, groans
my slats with pearly condensation.
I am twenty – and I am warped,
with a body bent like shanty shingle, angled
mad enough to slide off sides and tumble into flower
beds of strangers.

My bones – once new, once green – grew
children ‘long a doorframe, climbing swirls of ivy
ink and wispy curls to lintel.
Wily little imps they were that tore their jeans
and shed their sleeves each fall, that slept in mud
and came inside if just to smudge
their mother’s ivory trinkets. Shelf dwellers
in a dusty sea, elephant and whale – bone
more bone than my own ever dared, or cared, to be.

Eyes travel from canvas to porcelain, flowers
arranged with care, catching the right tone,
her brush flicks.

A squall bruises the cerulean sky.
Welts of indigo rise. The room flares
white, light divorced from shadow.
Her palette hot, each smear of paint burning.

The doorway, lintel near kindling, frames
Emily, fourteen, feline, grace and arrogance,
her beauty a warning almost too painful to bear.
The girl’s ******* her mother’s own before they fell
with time and weight and nursing.
Emily child skin sloughed off, flesh ripe, glistening.

Old words drop on mother’s tongue, “I could eat you up
(as you ate me).” Images in the painter mind
of porous *******, Emily’s rooting lips, shirts, blouses
marked with nursing and her own early nights,
reveries of a man and, by him, a baby.

(But the man never ravished her as the child did.  His anger
burned sienna between sheets and walls
for months as she kneaded pleasure from the rising swell
beneath her belly until muddied by blues, sullen
he left.)

“How was school today?” mother asks warily, resentful
to be so. The daughter turns to head below
and slit-mouthed breaths, “Fine.” The word
a jagged line across her mother’s work, cut roses,
carnations, mums, a Delft tureen. Brushstrokes writhe,
clench into figures---mother, father, Emily---and vanish
as laughter, a tease of easy joy no longer shared,
rolls upstairs. Mother’s hand, the brush
too tightly grasped, shakes and spirits spill.
She sits in bathroom quiet, tissues wet with salted tears.
Feet scuffle from down to up, a knock opens the door.
“Mom, take me to the drugstore. I need
some stuff!”

The painting day a ruin. “Only if you want do you need.”
“At least I use them,” from Emily, crimson flush
to her soft defiant cheek. She turns, but
mother’s hand to keep her youth from going grabs her skirt.
It rips. Emily’s nails rake her mother’s face
who, hand to cheek, is amazed to find palms stained with alizarin blood.

In fearful flight from what she’s done, Emily raises a tube
fat with madder rose and holds
the canvas hostage. Colored snakes inch out. Emily
and her mother now striped reds with blood and paint,
souls soaked through,
thick with love. The tall grass outside steams.

Through forlorn eyes i watched days sit on the window,
Ticking of time slipped by,
Through time and time a seed to vine,
It grew above the lintel,
As days went past it grew so vast,
The ivy grew over the door,
From young to old from hot then cold,
We are born in the morning and pass in the evening,
In the great sunset of life,
We may lie and deceive for what we achieve ,
In the end a pillar of sand,
We all make our circles ,
Some large some small,
But in the end its the beauty that we make of it all,
That will step with us into the gentle last goodnight,
As we close our eyes no pain don't cry,
As i die with a gentle sigh my light will slide into the evening.

Like tiny lintel beans full of light your skin shines across the waves of your smile.
Like tiny glimmers of hope I'm captivated by my sensation my intuitive fixation on love.
Like a pirate lost to sea I fall in love with the ocean when I never had sea legs to begin with.
Glimmers are reflected.
Like your taste in music and taste in habits and taste in speech and distaste in me.
Glimmers given false hope to sailors tormented by the sea.

[a railway sleeper is what he used to span the door of his]

           b          e          d          r          o          o          m

Marielle vindicated my deprecations on the unavoidable stretches of Avignon, on Pentecost, we sat down writing each one in her hands, with your name and mine ..., we thought disfigured, we thought of the incorruptible doctrine of love, devout sense, and avenue that silences of the tremulous face in the arias of a Trastevere,
It took us further than an incautious thistle imprisoned in my memory ..., you hunted the mystique that spreads its temptation admeasure to have you inquisitive ..., and Francois your father, as if he were here in the arms of Priamo and Paris, in a pluralism of 1300!

With gall, tarnish, and Scientology I have frozen in your necropolis,
where I keep waiting to see if the astragalus will turn green on its twenty spellings, the warmth of your hands has delayed the reminiscence of enteric-speaking passion, tingling with hormonal satiety, with zephyr that is disgraced by the corruptible prism, with oculi that are archived for you, with each serving of the memorial fractal!

Caletres mine and corrode to the detriment, after judgments of others to see you winged Melusina, in tippable cuttings of our partial lichens, spotting the molds that are resurrected! thicken them and slide into passions beyond the platonic third itch, wielding three thirds that rule the sun, and that uncover my cell in Chauvet; The years fear the future when the transitive past ruled only when you saw yourself in the evasive Avignon Cathedral, around the requesting star of a Capuletto, or a Quentinnais who knows what it is to burn in the frames of the Mausoleum if it is an Eden, or a crass neo-Eden, cracked over my heliocentric love!

Transfinitos Calixtos finite modest when making you my Shemash,
brute medieval Christian doubt, the thunder of dedication and fervent holiness, his hand will drain away with the Greek Gallic host, sealing the fire of the bayard, that simpleton shudders mobile on the stars that open your eyes of the lintel and the dawn of it, which affronts decisive prose, and which should not be limited in the turpentine prose that threads it, with the darned language dreaded of the Anthropokairós, that is clogged with words and resins, towards mourning pistils in infamous brotherhoods, rising in graceful blizzards, and that shakes its veil of mobile touch of Gallic
Greca, forging revivals with quotes from Marielle during the day, falls into a lost day.

Decentralized and pseudo phases are vacated in the medieval indoctrinated stars, that freeze releasing in your hands on the snowfields, shining in fervor halos that desecrate, rather than a worse arrest that only tarnishes in terminology, and not in events and thoughts that decant more times than corroded prose by thousands ...
indivisible and atomistic the attachments model Marielle, which risks that multi expire, where I will never leave without the risk of her, between arms and hidden ages.

Long vigils, they reiterate what I undid of time in Arles in the hands of a desolate Ginés born from me, conceiving your burnished hereditary Greek accent, like a votive offering immersed in walls that slide in compressed water on themselves ... in themselves, they are hidden narrated and narrative, in trials that will make the ginés green, in sessile tragic anguish, permeating what hell was and that burned at your height without more than going up, without hearing if it became fruitless when it ceased its pulsation! Flowing into your rhythm, which always beat in your mansion hunch, and its working glasses.
  
I fled, but I never distanced myself, only my random feet were hardened on the cornice of heaven, always dramatized in the imagination that consoled me with an august and probable tragedy, far from vessels and glasses that were filled in ruined castes, condensed with humidity, and dewy Greco-Gallic dew, with flimsy nondescript lips that squeezed.

The great Valdaine was sprinkled with petals that puckered the Canephores, falsified in Persephone, overestimating voracious paternalisms that fertilize all the fields of the world, behind his inquisitive waistband, logging revived hearts on Patmos.

What agonizing pleasure registers face down in infamy at the death of a disaffection, he layman has fallen apocopes, with grandiose passions of faith to sustain himself, with shaken science in worlds that solidify his quarterly orthodoxy, with endearing unions in his bellies, with the secret of loving you like a Dominican ...
rational and undaunted symbols fall ..., lateral to see them lacerated,
Arranging yourself female in a heterogeneous century, being one and not, like a memory knife!

Not a centipede achieves it, nor the strides of a caterpillar with a hundred feet plus one, They are glimpsed with mystical postures and internships that make them an aspirant, but I do not confront anyone without my Xiphos, nor without the random zafral of possessing you,
I prophesy it in Valdaine or Helleniká, a transcript of the visionary temple that venerates you, and that is not overcome by uncontained ties or random and agile confinements to leave far away from you…, in pro cloister mechanics, where no millennium belongs!

The urgency of the gap strengthens in the head of my wayward Bayard, he declines and bows, evades itself of the raptor to feed itself, like me without losing you and becoming preferred to someone else's luck, knowing that chilly early mornings speak nothing of the mornings, that they shackle the night helped by the rooftops, and with accouterment fields to migrate them from their chains, coarse and one-eyed when they rise from their antlers, releasing shackles and cheeks, allowing a second to appear in their accent and of their great company, carrying the colt root, with gallic and unblemished sylphid greca; Oh venerable Greca, Gallic Marielle come to me!

Slumbering all night
On the cradle of comfort.
Mixing the oil of night
With the wax of sleep.
Conjuring the day to night.

Protruding womb of the day
Howling for the birth of light
Unfolding the mantle of darkness

Awake from timing slumbering.
Awake from caging nightmare,
Awake from the deadening
      slumbering
Awake now Ma'am Jonah.

Conquering gnome of darkness
Standing beneath the shades of
      the iroko tree.
Poachers of darkness hunting
      for the river's manna.
Mauraders of darkness peeping
      through the lintel of trials.

Awake from sluggish slumbering
Awake afresh into the newness of
      dawn.
Awake Ma'am Jonah.

Parable Hippeis above the eared: “Kanti; Hussar of aristocratic steeds, being from Crete, he was broken down from the servants as a possession of the globalized high lineage of Thessaly and Argolis. In the front Paraseno of him; He ruminated on the psychic frontality of not being defeated by the mere fact of being defeated as an extension of his defenselessness as if stating what he was not capable of winning in what he defeats a Hippeis when he has greater stoicism than I love him of the owner. Therefore he was destined from the Krepis or Crepidorma to the number of Gold or Golden. Dividing from all the other paranasal sinuses, by less than the base of the skull of it by the length and factorized by Pi ()

In the sphenopalatine Paraseno of him; the outer colonnade, in equilibrium and eurythmy or harmony, was provided in the order, optical correction and rational geometric construction, with the parameters of the Parthenon as the spheno ganglion of the ribs of the Peripteral Octásyle, which surround the colonnades of the expiration frieze, exhaling Zeus for vibrational anti-seismic integuments and neighs of the Hippeis, like Kanti exorbitant and convulsed.

In his Maxillary Paradise; subdued in the architrave of the lower part of the entablature that rests directly on the columns. Its structure functioned in its serving lintel, to transmit the weight of the roof towards the columns, and duplicate the basalities of the pontificate of the Samarians horsemen of Orondel

In the parasene dorsal turbinate; in a Metope, it occupies part of the frieze where the Doric entablature of its classical building would rest, located between two triglyphs. As a metope decorated with bas-reliefs, on the taboo cliffs of Samaria and its horses in the neatness of Hippeis blood.

Middle Paraseno; in the Stylobate, towards the upper step on which the temple rests, it will be part of the Crepidoma: on a stepped platform that raises the building above the ground level to give it enhancement and greater presence. As a middle echelon to the majors of the final grand echelon towards the Koelum, which unites them in its golden horsetails like blood-green horsetails.

Of the Ventral Paraseno; In the Opisthodomos, as a distinct space located at the back of the temple, the special vestal element is attached together with the Pronaos (or portico) and the Naos (or sanctuary). Here they take refuge for the snout and their cheeks, full of Pleiades evading the hunter of Oarion, each one decreed steeds of Crete and Samaria, which shine the transition of the oceanic foam that runs naturally in high tides, and in the exalted pause and erogenous, tempting an Aphroditism.

And finally, the super Paraseno or Chamber of the Canephore, ruling and ruling the priestesses of Baal with the steeds of Orondel, for the purpose of sacrificing the sacred courtesans with their hooves that were sacred in Stylobate, which was esoterically diffused. Pro the Canephores reigned alongside the Vestals, for dichotomous bustle with Hestia between fires and bonfires, which will pour out the mysteries of Eleusis.

They had their six Parasenos separated from their septum, de numen that in other castes they gifted the hubbub that came from Samaria in the reign of Israel, being a Hippeis of the Elite Greek cavalry. Of the farms of this region, one hundred years after the Syrian ******* in this same analog, Kanti was destined in the drafts in the pastures for agricultural work, attached to all the Philistine plains. A plethora of exuberance with liters of the pinkish vine, which, in the face of the long-awaited of some, plucked from branches by the snouts and sulfur of the Cinnabar, already entrenched in the presses and in combat of implicit rows of vines burnished by the thickness of its sulfurous secretion, opting for the lush, grassy tapestry.

In Thessaly, Kanti stood out with his supremacy of water seed, which raised surplus rain when the Mediterranean droughts rocked them from the gargoyles on their similar steeds. In the sagittal of his hoof, under the "U" all the Hippeis of Thessaly were marked with the Vox of ππεῖς, but not those of Samaria, they planted their fourth ends on the ground in the Deuteronomium; “He became passionate about the lovers of him, whose meat is like the meat of donkeys and whose flow is like the flow of horses. Thus you longed for the lust of your youth, when the Egyptians felt your breast, caressing the ******* of your youth”. Following this way Kanti with his chronicles warned that in their limitations and privileges, they did not excavate the selected strings of vines when he had to loosen their hooves, which were made of fire and steel from the bars of Hephaestus, by order of Etréstles, who relaxed from the agrazones, letting the sweet potatoes of their grafted plants levitate towards the clouds, which burst those esplanades in hydrometeors of tested sweat on their thick legs browsed by the song of their prayers and their thorns that broke their spiky washdown, fighting a duel in the cumulonimbus, which lavished care in which they settled before the eyes of the Hippeis foeman’s, where the vines did not ferment like the wine that does not have a vent and that makes them burst in new wineskins. This is how he triggers the patience of the gifted steeds of Samaria, towards new winemakers who would receive him for a grape harvester, who would carry other species of olives for a new millennium.

The credibility deposits did everything on their millennial steeds and genetics, to be more efficient and fruitful, for all the things that Kanti did not step on at the same time in all the Cyclades, Dodecanese and Messolonghi as Hippeis of Thessaly, but if from the Orondel perspective; which was the duplicate of Kanti Samaritan, holding in times the weight that it will bear together, in tons and in more than a thousand oil presses that exceed what his body mechanizes as horsepower, thus being able to lighten in the prunings of other regencies, which do not shake or shake the branches above Zeus's cups and his grind that does not expectorate or pulverize the best without its terrace.

Here where the trees used to grow, they grow in the orchard on the outskirts of the town, Kanti frees all the steeds of Samaria with their gravel on their rubberized hoof, mining the lands of the kings and digging the valuable napas more than all the heritage of the fruit trees, more than in a fifth year together with all the seas, to make them those that are in other uncircumcised ones, for the reward of those who hide from early taming and their spiky work. The gleaned in Thessaly were of forks that in the same cereals were gleaned from those that stopped feeding and mounted on a fable of grass of a rustic sewer and in the fallow farm laborers. The spikes did not fall, the Hippeis with Kanti gathered them with their limbs, legs, in the provinces of harvests dragged in sheaves of the Corsicans and their censers of Epha, like a gold rope and incense of Sheba, who thus brought expansion to Judah and praise to Yahweh. Epha describes the land where the dromedaries come to Israel: "A multitude of camels will cover you, the young camels of Midian and Epha." Kanti lashes out with the Hippeis imprisoned in Midianite lands, before being subdued and not released as new leaders of the Incense Route in the spurge beds of Bethlehem, with delicious practices inherited from Ruth, reaping barley, oats, and wheat in the same stampede of the Hippeis commanded by Kanti, beating barley, in which an Epha cultivated the Firstborn of Grasses of Thessaly "

(Procorus said: “in the defeat of the Persians by the Greeks, in the naval battle of Salamis, in 480 BC, marked the beginning of the decline of the Phoenicians' maritime trade, here the East was totally extinguished when Alexander the Great took Tire in 332 BC, incorporating Phenicia into the Hellenistic Greek world. All the knights that were from Thessaly were the entire lineage of Hippeis de Kanti, with Samaria germs from Chambers of Canephores)

Parable Hippeis above the Eared One: “Kanti; Aristocratic hussar of steeds, a native of Crete, was broken down from servants as a possession of high rank from Thessaly and Argolis. In his frontal Parasinus he ruminated his psychic frontality of not being defeated for the sole fact of being subjected prolonged in helplessness, and stating what he was not capable of winning by defeating a Hippeis when he has imperturbability prior to a master. Therefore he was assigned from the Krepis or crepidorma to the Golden or Golden number. Dividing from all other paranasal sinuses, by less than the base of the kraníon by e long and factored by Pi ( ). In the Paraseno Spheno Palatino of him; the exterior colonnade in eurythmic balance or harmony was provided in order, optical correctness and rational geometric construction with parameters of the Parthenon and spheno ganglion of ribs of the peripteral octasil, surrounding the arcades of the expiration frieze, and exhaling from Zeus the anti-seismic vibrational integuments and neighs of Hippeis, like Kanti exorbitant and convulsive. In his Maxillary Parasinus; he was subjugated in the Architrave of the lower part of the entablature that rests directly on the columns, its structure worked on its servile lintel, to transmit the weight of the roof to the columns and duplicate banalities of the pontificate of the Samarios horses of Orondel. In the parasinus Turbinate Dorsal; a Metope, occupies part of the frieze where the Doric entablature of a classical building would rest, located between two triglyphs. Like a metope decorated with bas-reliefs, in taboric cliffs of Samaria and its horses in neatness of Hippeis blood. Medium Parasinus; the Stylobate, towards the upper step on which the temple rests, forming part of the crepidoma: on a stepped platform that raises the building above the ground level to give it prominence and greater poise. As a staggered middle to the largest of the great final step towards the Koelum, which joins them in their golden edging of the Equisetum like horsetails with green blood. Of the Ventral Parasinus; In The Opisthodome, a separate space located at the back of the temple, a special vestal element is attached together with the Pronaos (or portico) and the Naos (or sanctuary). Here they take refuge for the snout of their cheeks full of Pleiades evading the hunter of Oarion, each one in decreed steeds of Crete and Samaria, that shine in the transition of the oceanic foam that runs by its naturalness in high tides, and in exalted pause erogenous temptation to an Aphroditism. And finally the super Paraseno or Chamber of Canephore, governing and ruling the priestesses of Baal with the steeds of Orondel, for the purpose of sacrificing the sacred courtesans with their hooves that they consecrated in the stylobate, which esoterically became diffuse. Pro reign in the Canephores along with the Vestals, for dichotomous fajina with Hestia between fires and bonfires that will spill from the mysteries of Eleusis.

They had their six Parasenes separated from their numen septum in other castes that super endowed the confusion that came from Samaria in the kingdom of Israel, being a Hippeis of the Elite Greek cavalry. In the farms of this region, one hundred years after the Syrian ******* in this same analogue, Kanti was assigned to openwork in the meadows for agricultural work, adhered to all the Philistine plains. Plethora of exuberance with liters of pinkish Vine before longed for by some, they tore from vine shoots by snouts and Cinnabar sulfur, already encysted in presses and battles of implicit rows of vines burnished by the thickness of their sulfurous secretion, decanting on the exuberant and grassy carpet. In Thessaly Kanti stood out with its supremacy of hydric seed that raised a surplus of rain when the low waters of the Mediterranean rocked the gargoyles on their similar steeds. In the sagittal of his hoof, below the "U" all the Hippeis of Thessaly were marked with the Vox of ππεῖς, but not those of Samaria, they planted their fourth ends on the ground of Deuteronomy; “He fell in love with his mistresses, whose flesh is like that of donkeys, whose flow is like the effusion of horses. He told himself... You longed for the lust of your youth, when Egyptians touched your breast, caressing the ******* of your youth. Continuing in this way Kanti with his chronicles warned that in his militancies and privileges they did not dig select strings of vines when he had to clear his hooves, which were made of fire and steel from Hephaestus bars by order of Etrestles, who distended his agrazones, letting him levitate towards the clouds with the sweet potatoes of their grafted plantations, that burst those esplanades in hydrometeors of tested sweat on the thick legs browsed by the song of their prayers, and thorns that broke their spiky washdown dueling in the cumulonimbus clouds that lavished care that settled before the eyes of Hippeis foremen, where the strains did not ferment like wine that has no vent and makes them burst into new skins. Thus detonates the patience of the gifted steeds of Samaria, towards some new winemakers who would receive him for a grape harvester who brought spices and olives for a new millennium.

The deposits of credibility made everything in their steeds and genetics of a millennium, to be more effective and fruitful for all that Kanti has not stepped on all the Cyclades, Dodecanese and Messolonghi at the same time as Hippeis from Thessaly, but since the optics of the Orondel; who was the duplicate of Kanti Samaritano, bearing ten times the weight that will make him bear together in tons and more than a thousand oil presses that exceed what his body mechanizes like horse power, thus being able to lighten himself in pruning of other regencies that he does not they shake or shake the branches above the tops of Zeus and his molar that neither expectorates nor pulverizes the best without his terrace. Here, where before the trees grew, they grow in the orchard on the outskirts of the town, Kanti frees all the steeds of Samaria with his gravel in his gummed hoof, mining the lands of the kings and digging up napas valued more than all the fruit-bearing heritage, more than in a fifth year along with all the seas, to make of them the ones that are in other uncircumcised as a reward for those who hide from early taming and their slender task. Those gleaned in Thessaly were from pitchforks in the same cereals that gleaned from those who stopped feeding them and assembled in a grass fable of a rustic sower and fallow farm laborers. The spikes did not fall, the Hippeis with Kanti collected them with their extremities legs in provinces of harvest dragged in sheaves and corsican censers of Epha, like a rope of gold and incense of Sheba who thus brought enlargement to Judah and praise to Yahweh. Epha describes the land where the dromedaries arrive in Israel: "A multitude of camels will cover you, the young camels of Midian and Epha." Incense in a sprigs of Bethlehem, with delicious practices inherited from Ruth reaping the barley, oats and wheat in the same stampede of the Hippeis commanded by Kanti thrashing barley, in which an Epha cultivates the Primogen Gramineae of Thessaly”

(Procorus says: "in the defeat of the Persians by the Greeks, in the naval battle of Salamis, in 480 BC, marked the beginning of the decline of the maritime trade of the Phoenicians, here the East was completely extinguished when Alexander the Great took Tyre in 332 B.C., incorporating Phenicia into the Greek Hellenistic world. All the horses that came from Thessaly were all of the lineage of Hippeis de Kanti, with germines from Samaria and Chambers of Canephores)

Parable Ad Libitum Ex Varna: “In the lower and upper parts, a certain anti-demonic air carried a Kerí towards the candles of the Procorus rituals, extending the Eurydice ship that came from Rhodes. On the floor of his cell he had some Tamarisk branches such as Tarayes that vanished due to their quality when they expired at his own monk's feet to become lasting in his Oikodomeo, to raise with the Taray the essences of re-transformation of the lexeme of conventional greenness into Patmos, very deflowered in periods with high untemperances only with some secretions in which Procorus felt the re-flowering adventitious from there and then in the anemophilous advantages of the winds released from the belly in sedimentary veins of Rhodes. In its alchemical anemophilia or movement of inseminating winds, the subtle soil vanished with the force of the Sulfur Lion that derived from the Cinnabar with the Anemoi wind that impregnated the Tamarisk capsules, under the acolyte's feet. The aquifer of the water table of the subterranean waters in Patmos, remnants were scattered so that in Pro Nobis they lay of their demonologies, sponsoring Persian magics of the Lid Post-Gaugamela, with themselves in the Ex Varna with iridescences re-transfigured in the Mount Tabor. Says Procorus: “This Tamarix or Tamarisk has poured limits of our Oikodomeo, to re hold the superficial plate and reuse itself in the absorption of the burning under my feet, forcing them to readapt under the ground scorching concentrated in the Cinnabar residue, carrying the dermal prototype towards the saturated bottom of the salt larvae that prevailed in the pummeled beam of their skill, in some bundles of Tamarisk showing themselves innocuous in the imagination of the cloister suffocated right here by some Chaldean tribes, who felt like the illusionist stand of Ex Varna” . In the compaction of this epic hyper-fantasy, his urge was born from the consecration of the Gift of interpreting the subtlety of two-dimensional variety that would appear up to this moment, beneath the layers that were contaminated out of nowhere by the mere fact of the whim of the augur momentum, which finally it is restricted in the morphism of the Katapausis and chamber of San Juan Apóstol, finally supported by layers and blankets of subterranean aqueous filters towards a restructuring of the plane of Euclid, and towards the vicinity of plantar pedestrian zones of Procorus that were already three-dimensional in the construction of the Oikodome, for the foundation of the Náos or temple, which would go crazy when the Hexagonal Progeniture arrived to build the Vernarthian temple with gifts of multi-construction purgatory for the Oikos in Dwelling of the social unit of Aquarius or Aqua spirits that are terminates at the end of Capricorn dehorned. In mutual edifying peace between both zodiacal proximities of the Oikodomé, here every day specters purged and rubbed in the archetype of the Megaron that was intended to beoblations and in votive links in the massages that the manes of the Vernarthian universe gave them in their spiritual mortar, reconverted in their eternal brawl for living in the friction and brown partitions of the bloodless Megaron to inaugurate it as a solid bastion, in the weak regions of the Hetairoi that cellularly, it snatches energized vitality from their extremities, with total imbalance and wheezy guards maneuvered on their feet, dragging themselves towards the karmic Saetas de Velos Toxeumas and unharmed Dorus. But feverish and threatening their integrity when they were falling and plundering the Euclidean edge, opening up from the designs of the Hellenic palfrey, becoming parametric of Kanti's paranasals and spatiality that would surround the Parthenon of Fidas, with Ikríomas or scaffolding that made them collapse from their coordinates with Mamdilaria and Agiogitiko wine baths on the Vernarthian body between the column of the Sabines and Greek colonies of Lacedaemonians from the 4th century BC. C., already entwined in borders of synchronicity from the Erechtheion, falling from the Caelum, close to all his teachers who helped him install the final tiles of the temple, next to them intoxicated with Nepenthe, by intense vine rain stómas in the silent afternoon of the Inter-Cosmos of Athena, sending them the poison of Velos Toxeumas, a priori… and before attacking any skin that wants to revive itself in the inoculated Vernarthian dreams.

(Procorus, manifested himself solid in his loneliness when seeing that Lacedaemonians and beings of the night accompanied him, in contrast to the dark light that allowed him with a single candlestick to expand more inaccessible in the semi-glyphs in the grooves of the Megaron that shone synarchically in the plans of the new Monastery of Saint John the Theologian) ..

Parabola Megarón Dódeka Spathiá: “Procorus perceptibly saw how the sky of Patmos was crossed by heavy metalloids of bronze, tin and acroballistics; for the cavalry of Kanti and six Para Senos appeared, who used to ride on the roof of the Megarons belling to the sounds of the acroteras. In these episodes in twelve Swords that were multiplied in advance by thousands before the Megaron began to be built. In relevant dimensions and virtual foundation lines, acrostics of steeds from Thessaly on their palfrey mounted Polish Winged Hussars, carrying twelve wings of cuirasses with twelve horsemen, adjoining the halo of heavy cavalry in Katyn, being abducted by a circum-regressive parapsychological Ellipsis of the 1939 event in Poland. Each rider was strung in blood with golden wing feathers. In each of their hands they carried the curved saber Szabla, to cover up the unspoken target of oppressors and musketeer intruders from the armory hearth of the hypothetical enemy-unknown but outsider, assaulting the flanks of the rooftops in the Virtual Megaron of Patmos, using Kopias or pikes that schemed in the impetus of deadly resistance of the betrayed ancestry. The roof that pointed to the south west reflected the light of Orion by aerial forms of the Aegean choir, riding on the high seas with Votive offerings or offerings of Cyclamines and Red Poppies, hovering in majesty in their nomadic obtuse compass of Rhapsodas coffering epic elegies of the Megaron and of those revived venerable triumphs that stretched out on the banner of glory and bed of epiphany. Rhapsode proclaims thus: "In Katyn Wings of Golden Wood and Red Poppy, they adorned themselves with Bellis Perennis in twelve thousand rags in our steppes harassing their moan in blood wars, framed in large sections on the threshold of their mounted war. There were twelve thousand red poppies burning on the executory pilaster near Smolensk.” How much is there to get fed up in the Polish cavalry of the 17th century, that upon glimpsing the barbarous sounds of the temple that approached them to the altar of the Virtual Megaron, showing off in acquiescent ceremonial and counter-revolution of lifeless aristocracy in needy portals-living and mortal-living who posed in the rear of twelve thousand officers slain in the Forest of Katyn, such gentle medieval men in the contemporary untimely invasion. Here in this place the puffed winged horsemen went by destiny when they were sacrificed, like steel cushions they galloped on their heads sheltered by brotherhoods of Hussars that protected them with Lion and Tiger breastplates with retracted claws. Procorus, observed in the virtuous imagery as medieval winged specimens, protected the frontispiece of the Megaron in bullet-ridden super-existence and a trance of historic architectural dread. Here on a Patmian soil, each one of the officers was aided by each 17th century Polish cuirassier with ferocious wings, they were making them agonize with honor and glory, with those similar twice right there of their resemblance, with misty discrepant blood interwoven, executing on apocryphal witnesses who covered themselves with your looks, of overflowing evasion and truce of bodies stained with mourning and despair, with blankets of red poppies scattered adjoining a naive unarmed forest. Over exalted memorandums and secret cries of Adrastea procreating their kind with the nymphs, they drowned out the cries of cuirassiers like Didaskein, before sobbing in their topic, but of Pashkein in the foliage of rotten hopes, of those who hit them from behind, in analogous vexation to heroes of Katyn. Here neither Cronos nor Mother Rhea heard them, only Adrastea prevented the cries of the men-children who were atoned for behind their backs, from venting them from the foliage of the Didaskein-Pashkien, in tears of solid mercury. Kanti's steeds rise, carrying them the curved Zsabla sabers, before each is shot in the head as twelve thousand Winged Riders are caught in each Zsabla. These sacrificed them before they were killed in the waist of his head, not being expired by ammunition but rather by sabers of honor and glory of their own winged protectors, who would lead them by sharp weapons towards the holocaust of the Mashiach surrounded by red poppies. “The red and steamy cendal of the forest carried the souls of the Hussars to pass them through the sabers of their compatriots, before they were immolated by the Soviets, so their apostolic souls will be catechized by Zsablas of dyed airs of Red Poppies converted into air of respite from the heroes of the Katyn Forest, redeemed by the Golden Winged Riders of the 17th century”

(Procorus in the immensity of the voices and epithets that were heard, differed in the volatile and explosive metal sabers at the present time that were extinguished in their crooked armor and in Polish beings, in a rear that finally Procorus settled them in urdes of immaculate habit, suspended in twelve thousand Red Poppies flanked by his forehead before being shot from the cortex and occipital lobe, forging into golden sabers and cenobitic transvestites who received them in arms in the sublime stench of effluvium of their blood and hosts, never left and desisted from bubbling by the figures of the acrotera near the Megarón, ditto in the same Forest of Katyn, surrounded in a string of Rosary that dazzled in Procorus prohijando them)

Parable Fourteen Donítikos: “fourteen vibrations were polarized in the enthronement of Vernarth towards his brother Etréstles, making filial gradation in possible anti-filial conception of worship and death in who is suspended from one to the other under the condemnatory rhythm of past lives. It is typical of the facsimile of his own genetic shadow Cain-Abel, but of geomorphological gradation and time-space, which finally brings them together as blood relatives of the same Orbis Alius trunk. Dismissing by not accessing a vibrational anti-Asur (as a healthy creative mind in Genesis) as an energy that manages to restructure itself in any homologous way in the world of Asur as the son of Shem in Genesis..., as comparative and intergenerational mythology , enlivening socio-parental metaphors, pronouncing in cohesion and enchantment what happens in another similarity of gender or Mental field, staging the probability of a mental Sun that dies in a Super Man, and this comes to free us from the ties of existence and plane terrestrial not reflected of immanent and instance of Eon, in geological and sidereal lives. The scrolls of this semi-myth, is subsequent to hanging scrolls on the will of us existed for thousands of years linked to links and human characteristics of knowledge through professed and comparative feeling. Compensation of material distemper between the anti-pivot and life between both refers to the simultaneous undividedness of each specification as a phenomenon lacking hearing in winter and inclement periods. Here the outburst of retro involutions becomes cloistered in Menatira, daughter of Cránae, Queen of Eleusis Pro Eleusis tally fuzzy from the convulsing breath of both through the steppe of silence, both of them. Dodecahedron on an octagon in each one for each one that was interpolated in each area when Demeter was looking for his first-born Persephone.

“Etréstles metamorphosed, so that Metanira reunited them with the sub-mythology of their destinies and the preconception of the elucubrar of a final breaking of the abstract spell, which was mixed with the element of vehemence in their irascibility to wait for a next season in fourteen toasts followed by Ouzo, and goods with intact and distant deities in oscillation of life-maturity, making it after the eleventh Ouzo in determinism of autonomous eternal substances of the ritual of Elusis, appreciable power and coarseness of the one who has to compensate for the one who has everything and the that will never have it. (Eternal Life Spell)”

a) Abundance of rain of red blood cells, in quotation marks of the legacy of Bios as all deprivation of life file, rather for those who yearn for it between a physical trifle alibi...

b) Psujé for Vernarth, “For whoever wants to save the life of his soul, he will lose it”. But he will restore it if he is saved by divine psychology muscle."

c) Zoé, “radiosity and refraction of etherization and physicality, more than a biological physical body re-transformed into purging from the superior to the inferior multi-created, but in a Jesuit adjective and sphere of consequent concatenation towards the plane of the

Mashiaj as holistic of the human cave ecstasy, in inflexible marriage between heaven and earth Ad Aeternum”

(Procorus, auto-irrigated red blood cells, to deliver them both, and relevel the levels of red blood cells of the Mashiach's divine blood, which expected to be refounded in both brothers of the Vibrational in Fourteen Donítikos or Hellenic Vibrations, with the initial D in the lower left ear and the S in the upper right of the vibrational field of the Tinnitus of God, with their ears placed in their hands, take them by their ossicle and from them in the curvilinear dawn that vibrates in what He only wants to do to them Dodeká).

A machinist
Breaking his parts
Bringing his art
In lintel print

WHAT ELSE IS A MIND FOR?

He bent low
as he entered the door

but his wings
caught on the lintel.

"**** this human habitation
it was obviously not built for

angels
in mind."

He cursed his cursing.
"God forgive me for swearing!"

It was his first time
on earth

and he had been used to being
only a painting.

I never held that against him.

Wasn't it my mind that snatched him
from such an existence?

When I say "He"
I could have said "She."

Such awesome androgyny!
"Gender just isn't our thing."

A bit like
Prospero's Ariel.

I had prised him from
a painting of an Annunciation.

There was a squelch
and a **** of paint.

Somewhere in Florence
an angel vanished

leaving behind
an angel-shaped hole.

And I
had made him real.

Kidnapped him
from the reproduction I had found him in.

Why?
What else is a mind for?

After all I was
going to grow into a poet.

He always showed
just the one side of him

as the other side would have been
just canvas backing.

So he walked
like an Egyptian.

He become a friend
so to speak.

I thought him how
to talk.

And other such human
being accomplishments.

He was thankful
to be made real.

He had been paint
for such a long long time

it had become a pain
in the...ahhh...neck.

And he had had cramp
for over a century

on the top of his left
wing.

He had wanted to sneeez
for years and years.

He thought I was amazing
hadn't realised the human

imagination
could do such a thing.

"You're a bit like God
in that respect!"

I was only 7
at the time

and my mind hadn't closed down
into being a grown up.

I thought that with all this
Catholic Education

shoved down my throat
about guardian angels and such

then I would make my own
steal one from a painting

just add thought.

Ok so the paint was
made flesh.

After all as I've already said
what else is

a mind for

when one is going to grow
into a poet.

I have seen an angel, wearing one of its broken wings, crying, holding the pen to write but had nowhere to translate his writing. In the other hand, he held his wounded soul, as if the heart vanished in silence, I wanted to know if it was pain or the fact of not being able to fly or write sad, I went to see him and I saw with stupor, that I looked like.
The angel is not sad, just lay as a spring inside because he is not allowed to fall from heaven.
An angel cries, when the light of the soul has gone out when a wing has broken and we are condemned to walk among mortals when it changes its brightness to embrace and surrender its life.
An angel weeps when love has gone and the fast-flowing river has dried up of innocence, of beauty, of the subtlety of the enamored soul, seeing the legs of the mired souls who have lost the gift of walking, between stanzas of poetry, that they have lost the gift of opening their hearts, to the love that lives hidden among stories, between stories and prophecies, they have lost their amazement and surprise, they have lost the gift of love.
An angel cries, when love has gone to oblivion when the hooting of the wind cannot overcome the deep silence of a love that has departed or a friendship disguised as deception.
An angel cries knowing that someone has left, walking after other steps on a lost path, dressed in mourning because his mission and reason for existence are over.
Losing a wing, only means, becoming human and not being able to love, forgetting how to dream, what love is like and how it is to truly love, from the depths of the soul, without letting ourselves be embraced.
Therefore, in a distant path, where dream and reality come together, where dreams of past lives become future realities, there, where the name awaits perennial, where the light baggage becomes, where the word floats and the letters spill beyond the dream of dreams itself, on the threshold of the crow that perches on the lintel, beyond the mortal body and soul, where beings and ghosts are one, forgetful of journeys and captive souls, in the secluded corner, hidden obscurity that seizes, where the wind and the mist listen silences and the crowd in lost dawns, in your memory that lathe, smoke of molten ash, in the desperate cry, oppression of vague prejudices, in the muddied mind, poisons of tormented blood, beyond name and disorder, in normal sanity of madness, on the other side of this masquerade, hiding unbridled passions.
There, distant lands of blessed insolence, in wind and fire, air and smoke, in the dream of dreams.
There and only there, I will find the name of an Angel with broken wings.

You realize you look like
A little person, you're supposed to wake up blazing Pushkin
Your dream, not my ******* fire
I'm so high, I'm writing into the night now
Fast turning and hurting on the crazy fires, and crazy lives make me thrill the shapeless winner
Finding himself in broken places, breathing goth inwards and feeling the shells in the desert sand
Mirages can happen to anyone
As hope is a dangerous thing
Style without art
Do a dangerous thing with it that's what I call art
The writer told the poet, he loved his talk of fire
The poet told the writer you're a poet too, beat in these neon sycamore trees in gregarious places with looks od city sunsets in heroine's meditation
******* up the fast life, never winding it down as it was something the fire that never said sad things and curses smoke
Into the grumpy old man, looking for murders and phobias and senescence with crocodile looks, a name I cannot tame
A genius I understand, a tatterdemalion poor soul in Heaven, and Hell feels nice
Saying old things now sound nice, the web of conspiracy
What does it mean if I'm stuck in this web?
Anyone tell us, if a beer is a chemical for the hydrogen jukebox as the Phoenix burns with ashes and TS Eliot breaths fire in Burnt Norton
Shrubbery of watered fishes in bushes of the merriment of silent way
Seems nice to be a pleasant person in someone's trombone, jazz tells it lik its
We can't talk about as it is, and explain either
So we talk jazz, and the fiery starry accosted soldiers, let's talk about, jazz what wants to say
I celebrate, and sing of heralding the ferrous thing called knowledge, godly rushing waters rusting these engines with experience
And education, as you atr lisyrn
Quite, not what we say
Shadow of dust, and ashes we are the fire t
To coal eyes, and the rebirth of a thousand suns
In remembering the Gunpowder plot in middle ages reeking with beautiful thinkers in winning titlting greatly never hold me tight
Ghosts of my past, freely fling with ambition
Conviction in my sails, and soundly silence gusts of wind
As the red earth of the yelling virility, in the God that wants Goddess
Simplicity is the honest expression of humbling doubts watch as struggling with words
Written in time, crime and sycamore sights, and the traveling life is what I find in the iconic culturalist of hiatuses and despair
Madness is something I understand, as the centrepop is a luggage
On the culling and dreaming of culture, in a lumbering lintel on the lugubrious lavish lascvious laconic lamentable lassoes on the sky to finish this derelict in the mind of art of the named ones
We have given up on them, ad forgotten the veritatem
We can add our suma lumma dumma stalling forks of stammering bouts of frenzies
We can call a sincere stride in the things talked about in unchained hearts on boggling derailed that was a journey in a nutshell, whiskers are something around
Your ear, I write my lights with faceless hushed winds
We are having cigarettes after apocalyptic Bad Nietzsche in high feelings in sharing broken thoughts
We can climb the politics, and Finnish mines as we murmur through valleys under the eyes
I travel at these memories they look back at me
Think back, looking behind I find cigarettes and alcohol lying on the shelf
****** mysteries summed up in one, I don't have any love, but, I'd love pompous frump myself, being funny with myself
I'm out of humor, now I confess my will and save you alive and lives live wire lively and variables searching for veracity on veritable streets filling childhood with a recovery of soothing bells
Healing your crime, your child in your sleep from the start
Dishing out punishment, on the innocent child and steeling my mind and rulers are the for theologists
In the theremin that plays smiling sessions in our prayer
Innocuous baby, in stand there in my conviction and the message, doesn't get across
The back closets the towels in the faucets staring into your corset waist, and you know that can be dangerous thing hoping for the end to become the bisexual, you've found a new numb beginning