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Edna Sweetlove Apr 2015


Le Grand Restaurant Gastronomique
de Monsieur Merde


Rue Ordure des Anges 69
Conville-le-*****
96969 France


**************

NOTRE­ MENU DU JOUR

~ €500 par personne tout compris ~



LE COCKTAIL DE LA MAISON
"Champagne aux vomissements de chat"
[A giant flute of the finest Cristal champagne with a spoonful of puréed pedigree cat's *****, served with our unique world-famous warm amuse-gueule of fricasséed feline *****]
~

PREMIÈRE ENTRÉE À VOTRE CHOIX
"Le potage aux asperges extra spécial"
[Cream of over-ripe asparagus soup with roasted toads' eyeballs, served chilled, accompanied by our unique home-made nostril pickings "petits chips"]
ou
"Couilles pissées plein d'amour"
[Raw bulls' testicles from organically bred animals, removed whilst the creatures are still alive, thus ensuring none of the precious ******* juice is wasted, lovingly marinated by the head chef, in triple-concentrated bovine ***** from our own Charentais herd of rare endangered species ****** cattle]
~

DEUXIÈME ENTRÉE DU CHEF
"Flegme des Dieux"
[A classic "Monsieur Merde" dish: bite-size deep-frozen gobbets of fatally-ill consumptives' phlegm deep-fried in ape ******-flavoured batter, served in a priceless 19th century silver spittoon, with a loganberry coulis on the side]
ou
"Ravioli al vermi semi-freddo alla Pectinale"
[A rare Sicilian dish re-imagined by Monsieur Merde: each "raviolo" of home-made egg pasta contains a living lukewarm baby earthworm, served with our secret "Sauce Mongol stupide", on a bed of wilted coriander leaves and crispy fried freshly-harvested Sicilian ****** nuns' ***** hairs]*
~

LE GRAND PLAT DU M. MERDE
"Girafe à naître, Sauce utérus"
[Roasted whole unborn baby giraffe, with spicy womb-lining sauce, served with pommes purées with a touch of female rhino ***** and Dijon mustard]
~

NOTRE PLÂTEAU DES FROMAGES MALODORANTS
"Assortiment révoltant"
[Selected personally by M. Merde, guaranteed to contain a wide selection of pure-bred, hand-reared, green Géant Normandy maggots]
~

LE GRAND CHARIOT DE DESSERTS
"L'Héraut de la pompe stomicale"
[Including our signature dish "Crap Suzette", wafer-thin slices of vintage dried elephant dung flamed in 1895 VSO *** Napoleon Cognac]
~
LE CAFÉ et LES PETITS FOURS
"Sélection dysenterie tropicale"
~

Les prix comprennent nos vins selectionés "de la Maison de Merde":

Avec vos "starters" et les entrées: Château Pisse de Cheval 1994
[a full Chardonnay flavour with a hint of rampant stallion's ****]

Avec Le Grand Plat du M. Merde: Beaujolais Villages Supérieur 2006
[a powerful and fruity wine with a refreshing bouquet not unlike unwashed Olympic wrestlers' sweat-drenched armpits]

Avec les fromages: Château Foûtre 1988
[one of the most potent wines in oenological history, with a kick like a hippo's ****]

Et avec le dessert: 1946 Greek Muscat from the island of Shittos
[matured in Turkish goats' bladders to enhance its sweetness]

Bon Appétit!

*If our respected clients would like to sit near to the door to the toilets, please ask the Maître d'Hôtel for assistance, but please note there is a €25 surcharge per person for this much sought-after privilege and advance booking is normally necessary, so please be prepared to ******* if these seats are not available.
Donall Dempsey Oct 2016
WHEN THE MERDE HITS THE FAN

Our Sat. Nav's French
is eh...how you say

TRÈS TRÈS
. . .MERDE!

She transforms
Châteauroux into Chatterbox/

She morphs Le Harve>>>
into Le Have Her!

We can only laugh en français!

Streets with longer wording
become simply a slur

of wild guesses. More merde!

Here we be
on the road to Rouen.

Miss Sat. Nav. tells us it's the road
to ruin.

Aghhh...Paris pops up
Who put Paris there!

Even more merde!


We begun to distrust
Miss Sat. Nav.

She sulks for miles.


Insane we are
in the Seine.

Now we drive up
the Loire river.

Straight5 up the middle
with our high-lighted route

jockey along side us
in purple

like a riderless horse
winning the Grand National.

We cast her into
the back seat

make the ferry
( no thanks to her)


....ju....ju...just!
Donall Dempsey Oct 2017
WHEN THE MERDE HITS THE FAN

Our Sat. Nav's French
is eh...how you say

TRÈS TRÈS
. . .MERDE!

She transforms
Châteauroux into Chatterbox.

She morphs Le Harve>>>
into Le Have Her!

We can only laugh en français!

Streets with longer wording
become simply a slur

of wild guesses. More merde!

Here we be
on the road to Rouen.

Miss Sat. Nav. tells us it's the road
to ruin.

Aghhh...Paris pops up
Who put Paris there!

Even more merde!

We begun to distrust
Miss Sat. Nav.

She sulks for miles.

Insane we are
in the Seine.

Now we drive up
the Loire river.

Straight5 up the middle
with our high-lighted route

jockey along side us
in purple

like a riderless horse
winning the Grand National.

We cast her into
the back seat

make the ferry
( no thanks to her)

....ju....ju...just!
Nathan Squiers Jul 2014
Look, I was gonna go easy on you not to hurt your feelings, but I’m only going to get this one chance!
Something’s wrong… I can feel it.
Just a feeling I got, like something’s about to happen… but I don’t know what.
If that means what I think it means, we’re in trouble—big trouble—and if he’s as bananas as you say I’m not taking any chances!

(You are just what the doc ordered)

I’m beginning to feel like a write god (write god).
Can all the readers out there who think I’m right nod, right nod.
Now here I am again for another rap talk, rap talk…
They said I write like a monster, so call me scribe-star,
But for me to write like a beast means I’m a demon at least;
I got a devil kept in my pocket,
On my shoulder’s when I rock it.
Talkin’ of killin’ and of thrillin’; won’t stop it!
Write a demon doorway, now knock on it!
Ever since the dark days when I’d just lost it,
Way back when the world would pace and chant “Nutcase!”
I’m a ******, but I’m charming;
Yes, a crude, rude dude, but I’m still disarming.
Using syllables to **** ‘em all with this
empowering empire of powerful vampires.
The writer-type clackin’ back with typewriters, like way back, right?
Clackity-clack!
Rockin’ stack after stack, clackin’ out more attacks,
Ideas tacked out while hacks hack out their crap (but ******* spew **** all the time),
so I perform written parkour tricks so you’re not bored; strike a chord.
Show you Stryker’s tortured life of suicide ‘n strife turnin’
to strength and a fiery passion burnin’ while readers’ guts are churnin’—
teary eyes all burnin’.
Their fears are returnin’ from a story I turned out when I got turned on
to my own life.
Now I drop F-bombs;
exploding real-life scenes—
these ain’t your G-rated dreams, so take your outdated themes—
It’s the **** I’ve seen; don’t make me obscene.
I’m mean, I mean, it’s my means to screen a scene between a matte sheen.

‘Cause I’m beginning to feel like a write god (write god).
Can all the readers out there who think I’m right nod, right nod.
Now here I am again for another rap talk, rap talk…
They ask me to thaw out these oily blocks called ink-wads, ink-wads.
There’s a body in everybody , but not all bodies have a brain that makes them feel sane.
Like a train—just the same—
Might be runnin’ but we still cast blame,
The loading docks of our thoughts; they’re locked-up in a box,
And they’re stackin’ up like blocks
That turn the stacks to empty tracks (****!)
Trainees blame their brainees when it’s not easy training brains, see?
But the boarding isn’t boring—training brains; not trading pains—
Remember: the station’s self-exploration!
Me? I’m a hodgepodge! From train station to abandoned lodge;
Bully dodgin’, fully locked-in when I freaked out, fattened-up and then I geeked out,
Told “keep it down” but then peaked when I peeked deep down.
Creepin’ up, now, and keepin’ up (WOW!)
I swear it up and tear it up scribbled swords,
And now I wear awards for slingin’ words;
Offered praise; a chance to forget about the craze that once darkened all my days,
But I write that way—say “that’s okay ‘cuz it helps me write this way—each and every day!
And hacks think I act this way just to seem this way, ‘til come the day when the cray-cray takes the doubt away.
Demon obsessed? I’m possessed! Can’t own what you don’t possess!
“Hey, devil-lookin’ boy!”
So ***** for my honey I’m rockin’ horns, look here boy!
A Literary Dark Mass-acre,
Like the devil laid waste to a church on the page, looker boy!
They got a gold star, and a high five,
Felt so alive to see their own scribes make it to Momma’s fridge, ****** boy!
Hey, schnook-ah boy, looky here, looker boy,
I’m held up by The Legion, book-it boy!
Had to push for every word—every page—had to swallow all the rage,
Now you want out of your cage, schnook-ah boy?
I’m legendary—literary—and you’re literally just a *****, little boy!
So sell out while I’m bought out, ******-boy!

‘Cause I’m beginning to feel like a write god (write god).
Can all the readers out there who think I’m right nod, right nod.
The way I’m burnin’ through these pages, call me Dark Lord, Dark Lord!
But they’d rather burn my books, so start a fire war, fire war!
Can’t get it through your head? Words are more than Edward! He’s dead! WORD!
Let me drag you off to meet Dracula; take you back to the dawn of the dark lord, yea?
Fast forward to the foreword where the F-word’s “fangs” (you’re welcome);
This is my Hell, come! Be free!
Part Morningstar; part Morpheus! I throw up a kiss and jot down the kills like they’re red-apple pills.
Go ask Alice back at my palace what you should read to feed your head.
Sentence structure so smooth they call me FE-line, and my cat’s got better plot lines,
That the hacks will all call “sublime” (it’s “sub-fine”)
But me?
My **** scenes are brutal,
And my romance? Not frugal. I don’t saturate—I arrogate—
But I don’t condemn my characters to *******!
I wanna make readers care—if readers dare—
To connect and feel and follow where they can find some hope and power there.
While also giving them a place somewhere that isn’t here—though filled with fear—
A place where they don’t feel jeered or feel weird.
Horror ain’t just movie monsters, or gore-****** scopin’ sponsors!
You speak French? C’est de la merde, monsieur!
You look unsure! But I have the cure in the written word!
And though you once were achin’ for a rockstar author cravin’ bacon,
The role has since been taken by your man, Squiers.
And like a pair of pliers, I can reach into readers’ brains and cross all sorts of wires!
I’m settin’ cranial fires behind the eyes of all my buyers!
And while I’m growing Ghost Riders—ridin’ shotgun on the bullet-train ‘tween the pages—
There’s a horde of haters harboring growing rages
With a narrow gaze of who scribes pages.
They say I can’t write ‘cuz of my tattoos or my gauges
So allow me to assuage this: y’all can’t cage this!
If you don’t like it, let me show you where the grave is!
You’re well-aged, but I’m ageless!
Like the undead through the ages!
And like Shakespeare took to stages you can find me where the page is:
I’m hip to a script, I’m at home with a poem and feeling groovy writin’ movies; and I’ll be EZ on your TV.
You write normal? **** being normal!
What a novel theory! So very dreary!
Why the **** are they so leery, they say “Writing fear? We don’t want to hurt no feelings.”
Feelings? Setting up ceilings! Just more limits! It’s life! Live it!
Set the roof on fire!
Plot is getting hotter than a 24/7 squatter on a ***** channel!
So what if some **** gets a hair up ‘er ****? Don’t make it ****!
They wanna say “Hey you, we’re here to stifle!”
‘Cuz I mentioned rifles? Do they really want to trifle?
So I say:
“Better bring a sweater ‘cuz this thriller’s gonna chill ya—sure hope it doesn’t **** ya—and ya gonna get’a fill o’ all the ***** that I don’t give, ‘cuz I don’t live to let ******* quip or give me lip about my lit.
I’m entertaining and elating and also demonstrating how devastating a stream of escalating scenes can be so penetrating—although frustrating—to a mind that’s celebrating what it means to be vacationing between the pages; wading through the stages of a war that forever wages; meditating through the escalations now that they know what TRUE rage is!
“Oh, he’s too ******!”
That’s right! Ain’t right. That’s life: not nice; it’s strife.
It’s not just me; it’s we.
I just found a better way to show it:
Monsters that aren’t monsters;
Abuse put to good use; bred virtues!
“I don’t know how to plot plots like that;
I don’t know what words to use.”
Did it really never occur to them that to read a book—just to take a look—and THEN take up the pen?
You read King if you want to be king, strictly speaking.
A writing mind that isn’t a reading mind is a weakling; a weak link.
I’m a scholar—not a bawler—so I’m a flyer where there’s fallers;
Raised on Goosebumps and Creepy Crawlers so I’d Stine while others whined.
Got a dark side, but that’s The Dark Side on my side; counter haters with my Vader:
“I would be your father… but your dog beat me over the fence.”
No offense. Pretense: incorporate comedy and film; common sense.
Suicide pushed aside, though I still burn inside. **** myself on
the page each day so my readers can feel what it’s like to be alive.
It’s okay to hide.
Only your own devil knows what’s inside.
I own mine; he’s my co-pilot when I write. My demonic side; my demonic scribe.
Flipping my words to the birds—‘cuz, you see, that’s how I wing it—and flipping the bird while I throw down and sing it:
“Tiger, Tiger, burning bright,
My words are my roar and tonight I write!”
The fights are in your sights like you were seated inside a movie theater;
You’d see Xander and Estella—wouldn’t you want to meet her—
Have a front row to the creatures in a feature presentation…
But ‘til then
Eat some Rice An’ read a piece by a man who
Had an “Interview with a Vampire”—
I’m a fiction author, why would I lie to ya?
Prince of lies? I ain’t Satan!
Close friends, but I’m Nathan.
Judged for appraisal—I’m priceless—I’m  nice: no; charming: yes.
Got a razor-sharp and Shining wit like a crown left
on a King… but not.
Why be a left king, when I’m a write god.
So I did a lyrical re-write of Eminem's "Just Lose It" that wound up being pretty popular, so when I heard "Rap God" for the first time I knew I had to do the same. While I hope it's entertaining on its own, I think those who have heard the song will enjoy that I remained true to the source material in terms of flow, rhythm, and syllable count (Marshall Mathers is really quite an astounding wordsmith in his lyrical writings).

Hope you enjoy ^_^
Molly Smithson May 2014
Moving amidst my Ramona chapter books,
I make out your movement, M, the moody turns
Of your mounts and valleys, the moniker of

Family names, you marked me like a maternal
Emblem of the generation’s matriarch,
You mingled amid reminiscences of former matrons  

Maria Helena from the Midwest,
Who crossed the mountains in a wagon,
Madeleine, a migrant from Marseilles,

Who baked warm loaves in San Francisco,
And her own daughter, my Mimi,
Who muttered merde while she drank martinis.

In my own time, you materialized in
Marjorie, my nana, and Maria, my mom,
The women in which I knew you growing up,

Then Molly, who made dreams out of
Magic and Movies and Marie Antoinette,
You embellished my most favorite things.

In my monogram, you aimed my impulses
in your masts’ diametric directions
Towards competence, towards imagination.

In your middle ‘s mysterious compartment I make snug
With magazines and novels and mugs of hot milk.
You nuzzled me in moments of melancholy, then motivated me

To meander among your fundamental family,
The sumptuous L of melt and mélange,
The meticulous N of man or monk or money.

Even W, which matches your mien in mirror
It warped wicked witch while you
Milled maidens and damsels, so I imagined

The mutilation of those two majuscules formed
My image of womanhood. M, Molly Smithson materialized
From a meek mademoiselle into the mistress of mischief.
unnamed Aug 2012
J'adore l'âge du jazz mais ce n'est pas mon âge.
Mon âge est ma vie.
Ma vie est ma famille et mes amis.
Ils ne vivent pas dans l'âge du jazz et je ne vais pas jeter ma vie à la merde pour tous les jazz dans le monde.
L'âge d'or,
pour moi,
est ici.
C'est la vérité.

Ici: here
Dans: in
Ma vie: my life
Et:  and
Mon âge: my time
J'adore: I adore
L'âge du jazz: the jazz age
Ills ne vivent pas: they do not live
Ma famille/mes amis: my friends/my family
est: is
ce n'est pas: it is not
C'est: it is
Pour moi: for me
La vérité:  the truth
L'âge d'or: the golden age
Je ne vais pas jeter à la merde pour tous les jazz dans le monde: **I would not throw it to **** for all the jazz in the world.
Mahatma Jones Feb 2015
Paris is burning.
Tar streets boil in ecstasy as cobblestones shudder in fear.
The city is ablaze, a cataclysmic uproar,
multitudes of disheveled artisans carrying scorched canvasses,
singed paintbrushes and smoldering memory kits,
each individually packaged in flesh encased animal bags.
Flames leap from every heart,
racing down fire escapes into the arms of loved ones
who fret in the streets below.
Sidewalks hiss "Pleeeeassse"
then explode in a thunderous
"OH NO!"

Paris is burning.
Her watercolor tears, not out of sadness
but out of habit.
Rainbow stains for sinners and gentle madmen alike.
It's the end of love.

Paris is burning.
City officials, wearing smoke scented jackets and incandescent alibis,
(both in dire need of laundering),
tell ethnic jokes to the starving hordes of pressmen and reporters
who clamor impatiently outside.
A thousand horrible deaths search through the rubble
for possible survivors, insuring that there are none.
"these two rabbis walk into a bar, see.."

Paris is burning.
Centuries, like antique floral wallpaper,
turn brown, then curl at the edges,
rising in a spiral of thick, black,
gargoyle infested smoke.
It's the end of love.

Paris is burning.
C'est l'aroma fantastique in the air,
ah, but what is it? Escargot? Et vignon, flambeau, of course,
charred bouef, roast canard a l'orange, merci beaucoup;
Don't forget the '59 Cabernet du Normandy,
sipped slowly at a favored cafe but no, wait,
what is this, no.
It has all gone now, up in flames, all up in flames
merde..
so, you go to eat at the new McDonalds,
at the foot of the Eiffel Tower,
built in nineteen eighty-four
by a group of devout new-worlders and,
in the spirit of goodwill and brotherhood
that generally pervades these types of events,
shipped to France in a peaceful exchange
for another sculptural wonder,
the Statue of You-Know-Whatitty.
The enormous expense of this
gargantuan publicly funded project
was explained to the funding public as
a "social experiment", a test
to resolve, once and for all,
which of these two nations
is technologically superior to the other,
by determining which of the icons of modern civilization,
the fast food chain or the statue,
will best endure the ravages of time,
but alas, now,
as both the Tower de Eiffel and the Arches of Gold
are melting into one grande candle du ****,
France, it would seem, is up by one.

"Paris is burning", I thought,
"it's the end of love.",
when I first noticed the young hitchhiker standing by the road,
both lovely and lonely as life itself.
"Get in", I muttered, whilst the Louvre exploded
and was incinerated in the
thermonuclear meltdown at Chernobyl;
the Fighting Irish of Notre Dame were defeated at Waterloo,
and Quasimodo was traded to Cleveland for two femme fatales,
plus a hero to be named at a later date;
Joan of Arc got burned in an insider trading scandal;
Marie-Antoinette gave head to the Reichstag when
Napoleon deserted;
Descartes was discarded along with some rocks, worms and trees;
while the Seine simply evaporated,
and, two weeks later,
fell as rain over Nagasaki.

You see, my desire for her was so overpowering,
I would gladly have burned down any city
that she might have asked me to.

"Have you heard?",
I asked, as she got into the car,
lightly brushing my thigh with her hand,
"Paris is burning.
It's the end of love..."
(c) 1983 PreMortem Publishing
Jean Cocteau es un ruiseñor mecánico a quien le ha dado cuerda Ronsard.

Los únicos brazos entre los cuales nos resignaríamos a pasar la vida, son los brazos de las Venus que han perdido los brazos.

Si los pintores necesitaran, como Delacroix, asistir al degüello de 400 odaliscas para decidirse a tomar los pinceles... Si, por lo menos, sólo fuesen capaces de empuñarlos antes de asesinar a su idolatrada Mamá...

Musicalmente, el clarinete es un instrumento muchísimo más rico que el diccionario.

Aunque se alteren todas nuestras concepciones sobre la Vida y la Muerte, ha llegado el momento de denunciar la enorme superchería de las "Meninas" que -siendo las propias "Meninas" de carne y hueso- colgaron un letrerito donde se lee Velázquez, para que nadie descubra el auténtico y secular milagro de su inmortalidad.

Nadie escuchó con mayor provecho que Debussy, los arpegios que las manos traslúcidas de la lluvia improvisan contra el teclado de las persianas.

Las frases, las ideas de Proust, se desarrollan y se enroscan, como las anguilas que nadan en los acuarios; a veces deformadas por un efecto de refracción, otras anudadas en acoplamientos viscosos, siempre envueltas en esa atmósfera que tan solo se encuentra en los acuarios y en el estilo de Proust.

¡La "Olimpia" de Manet está enferma de "mal de Pott"! ¡Necesita aire de mar!... ¡Urge que Goya la examine!...

En ninguna historia se revive, como en las irisaciones de los vidrios antiguos, la fugaz y emocionante historia de setecientos mil crepúsculos y auroras.

¡Las lágrimas lo corrompen todo! Partidarios insospechables de un "régimen mejorado", ¿tenemos derecho a reclamar una "ley seca" para la poesía... para una poesía "extra dry", gusto americano?

Todo el talento del "douannier" Rousseau estribó en la convicción con que, a los sesenta años, fue capaz de prenderse a un biberón.

La disección de los ojos de Monet hubiera demostrado que Monet poseía ojos de mosca; ojos forzados por innumerables ojitos que distinguen con nitidez los más sutiles matices de un color pero que, siendo ojos autónomos, perciben esos matices independientemente, sin alcanzar una visión sintética de conjunto.

Las frases de Oscar Wilde no necesitan red. ¡Lástima que al realizar sus más arriesgadas acrobacias, nos dejen la incertidumbre de su ****!

El cúmulo de atorrantismo y de burdel, de uso y abuso de limpiabotas, de sensiblería engominada, de ojo en compota, de retobe y de tristeza sin razón -allí está la pampa... más allá el indio... la quena... el tamboril -que se espereza y canta en los acordes del tango que improvisa cualquier lunfardo.

Es necesario procurarse una vestimenta de radiógrafo (que nos proteja del contacto demasiado brusco con lo sobrenatural), antes de aproximarnos a los rayos ultravioletas que iluminan los paisajes de Patinir.

No hay crítico comparable al cajón de nuestro escritorio.

Entre otras... ¡la más irreductible disidencia ortográfica! Ellos: Padecen todavía la superstición de las Mayúsculas.

Nosotros: Hace tiempo que escribimos: cultura, arte, ciencia, moral y, sobre todo y ante todo, poesía.

Los cubistas cometieron el error de creer que una manzana era un tema menos literario y frugal que las nalgas de madame Recamier.

¡Sin pie, no hay poesía! -exclaman algunos. Como si necesitásemos de esa confidencia para reconocerlos.

Esos tinteros con un busto de Voltaire, ¿no tendrán un significado profundo? ¿No habrá sido Voltaire una especie de Papa (*****) de la tinta?

En música, al pleonasmo se le denomina: variación.

Seurat compuso los más admirables escaparates de juguetería.

La prosa de Flaubert destila un sudor tan frío que nos obliga a cambiarnos de camiseta, si no podemos recurrir a su correspondencia.

El silencio de los cuadros del Greco es un silencio ascético, maeterlinckiano, que alucina a los personajes del Greco, les desequilibra la boca, les extravía las pupilas, les diafaniza la nariz.

Los bustos romanos serían incapaces de pensar si el tiempo no les hubiera destrozado la nariz.

No hay que admirar a Wagner porque nos aburra alguna vez, sino a pesar de que nos aburra alguna vez.

Europa comienza a interesarse por nosotros. ¡Disfrazados con las plumas o el chiripá que nos atribuye, alcanzaríamos un éxito clamoroso! ¡Lástima que nuestra sinceridad nos obligue a desilusionarla... a presentarnos como somos; aunque sea incapaz de diferenciarnos... aunque estemos seguros de la rechifla!

Aunque la estilográfica tenga reminiscencias de lagrimatorio, ni los cocodrilos tienen derecho a confundir las lágrimas con la tinta.

Renán es un hombre tan bien educado que hasta cuando cree tener razón, pretende demostrarnos que no la tiene.

Las Venus griegas tienen cuarenta y siete pulsaciones. Las Vírgenes españolas, ciento tres.

¡Sepamos consolarnos! Si las mujeres de Rubens pesaran 27 kilos menos, ya no podríamos extasiarnos ante los reflejos nacarados de sus carnes desnudas.

Llega un momento en que aspiramos a escribir algo peor.

El ombligo no es un órgano tan importante como imaginan ustedes... ¡Señores poetas!

¿Estupidez? ¿Ingenuidad? ¿Política?... "Seamos argentinos", gritan algunos... sin advertir que la nacionalidad es algo tan fatal como la conformación de nuestro esqueleto.

Delatemos un onanismo más: el de izar la bandera cada cinco minutos.

Lo primero que nos enseñan las telas de Chardin es que, para llegar a la pulcritud, al reposo, a la sensatez que alcanzó Chardin, no hay más remedio que resignarnos a pasar la vida en zapatillas.

Facilísimo haber previsto la muerte de Apollinaire, dado que el cerebro de Apollinaire era una fábrica de pirotecnia que constantemente inventaba los más bellos juegos de artificio, los cohetes de más lindo color, y era fatal que al primero que se le escapara entre el fango de la trinchera, una granada le rebanara el cráneo.

Los esclavos miguelangelescos poseen un olor tan iodado, tan acre que, por menos paladar que tengamos basta gustarlo alguna vez para convencerse de que fueron esculpidos por la rompiente. (No me refiero a los del Louvre; modelados por el mar, un día de esos en que fabrica merengues sobre la arena).

¡La opinión que se tendrá de nosotros cuando sólo quede de nosotros lo que perdura de la vieja China o del viejo Egipto!

¡Impongámosnos ciertas normas para volver a experimentar la complacencia ingenua de violarlas! La rehabilitación de la infidelidad reclama de nosotros un candor semejante. ¡Ruboricémonos de no poder ruborizarnos y reinventemos las prohibiciones que nos convengan, antes de que la libertad alcance a esclavizarnos completamente!

El cemento armado nos proporciona una satisfacción semejante a la de pasarnos la mano por la cara, después de habernos afeitado.

¡Los vidrios catalanes y las estalactitas de Mallorca con que Anglada prepara su paleta!

Los cubistas salvaron a la pintura de las corrientes de aire, de los rayos de sol que amenazaban derretirla pero -al cerrar herméticamente las ventanas, que los impresionistas habían abierto en un exceso de entusiasmo- le suministraron tal cúmulo de recetas, una cantidad tan grande de ventosas que poco faltó para que la asfixiaran y la dejasen descarnada, como un esqueleto.

Hay poetas demasiado inflamables. ¿Pasan unos senos recién inaugurados? El cerebro se les incendia. ¡Comienza a salirles humo de la cabeza!

"La Maja Vestida" está más desnuda que la "maja desnuda".

Las telas de Velázquez respiran a pleno pulmón; tienen una buena tensión arterial, una temperatura normal y una reacción Wasserman negativa.

¡Quién hubiera previsto que las Venus griegas fuesen capaces de perder la cabeza!

Hay acordes, hay frases, hay entonaciones en D'Annunzio que nos obligan a perdonarle su "fiatto", su "bella voce", sus actitudes de tenor.

Azorín ve la vida en diminutivo y la expresa repitiendo lo diminutivo, hasta darnos la sensación de la eternidad.

¡El Arte es el peor enemigo del arte!... un fetiche ante el que ofician, arrodillados, quienes no son artistas.

Lo que molesta más en Cézanne es la testarudez con que, delante de un queso, se empeña en repetir: "esto es un queso".

El espesor de las nalgas de Rabelais explica su optimismo. Una visión como la suya, requiere estar muellemente sentada para impedir que el esqueleto nos proporcione un pregusto de muerte.

La arquitectura árabe consiguió proporcionarle a la luz, la dulzura y la voluptuosidad que adquiere la luz, en una boca entreabierta de mujer.

Hasta el advenimiento de Hugo, nadie sospechó el esplendor, la amplitud, el desarrollo, la suntuosidad a que alcanzaría el genio del "camelo".

Es tanta la mala educación de Pió Baroja, y es tan ingenua la voluptuosidad que siente Pío Baroja en ser mal educado, que somos capaces de perdonarle la falta de educación que significa llamarse: Pío Baroja.

No hay que confundir poesía con vaselina; vigor, con camiseta sucia.

El estilo de Barres es un estilo de onda, un estilo que acaba de salir de la peluquería.

Lo único que nos impide creer que Saint Saens haya sido un gran músico, es haber escuchado la música de Saint Sáéns.

¿Las Vírgenes de Murillo?

Como vírgenes, demasiado mujeres.

Como mujeres, demasiado vírgenes.

Todas las razones que tendríamos para querer a Velázquez, si la única razón del amor no consistiera en no tener ninguna.

Los surtidores del Alhambra conservan la versión más auténtica de "Las mil y una noches", y la murmuran con la fresca monotonía que merecen.

Si Rubén no hubiera poseído unas manos tan finas!... ¡Si no se las hubiese mirado tanto al escribir!...

La variedad de cicuta con que Sócrates se envenenó se llamaba "Conócete a ti mismo".

¡Cuidado con las nuevas recetas y con los nuevos boticarios! ¡Cuidado con las decoraciones y "la couleur lócale"! ¡Cuidado con los anacronismos que se disfrazan de aviador! ¡Cuidado con el excesivo dandysmo de la indumentaria londinense! ¡Cuidado -sobre todo- con los que gritan: "¡Cuidado!" cada cinco minutos!

Ningún aterrizaje más emocionante que el "aterrizaje" forzoso de la Victoria de Samotracia.

Goya grababa, como si "entrara a matar".

El estilo de Renán se resiente de la flaccidez y olor a sacristía de sus manos... demasiado aficionadas "a lavarse las manos".

La Gioconda es la única mujer viviente que sonríe como algunas mujeres después de muertas.

Nada puede darnos una certidumbre más sensual y un convencimiento tan palpable del origen divino de la vida, como el vientre recién fecundado de la Venus de Milo.

El problema más grave que Goya resolvió al pintar sus tapices, fue el dosaje de azúcar; un terrón más y sólo hubieran podido usarse como tapas de bomboneras.

Los rizos, las ondulaciones, los temas "imperdibles" y, sobre todo, el olor a "vera violetta" de las melodías italianas.

Así como un estiló maduro nos instruye -a través de una descripción de Jerusalén- del gesto con que el autor se anuda la corbata, no existirá un arte nacional mientras no sepamos pintar un paisaje noruego con un inconfundible sabor a carbonada.

¿Por qué no admitir que una gallina ponga un trasatlántico, si creemos en la existencia de Rimbaud, sabio, vidente y poeta a los 12 años?

¡El encarnizamiento con que hundió sus pitones, el toro aquél, que mató a todos los Cristos españoles!

Rodin confundió caricia con modelado; espasmo con inspiración; "atelier" con alcoba.

Jamás existirán caballos capaces de tirar un par de patadas que violenten, más rotundamente, las leyes de la perspectiva y posean, al mismo tiempo, un concepto más equilibrado de la composición, que el par de patadas que tiran los heroicos percherones de Paolo Uccello.

Nos aproximamos a los retratos del Greco, con el propósito de sorprender las sanguijuelas que se ocultan en los repliegues de sus golillas.

Un libro debe construirse como un reloj, y venderse como un salchichón.

Con la poesía sucede lo mismo que con las mujeres: llega un momento en que la única actitud respetuosa consiste en levantarles la pollera.

Los críticos olvidan, con demasiada frecuencia, que una cosa es cacarear, otra, poner el huevo.

Trasladar al plano de la creación la fervorosa voluptuosidad con que, durante nuestra infancia, rompimos a pedradas todos los faroles del vecindario.

¡Si buena parte de nuestros poetas se convenciera de que la tartamudez es preferible al plagio!

Tanto en arte, como en ciencia, hay que buscarle las siete patas al gato.

El barroco necesitó cruzar el Atlántico en busca del trópico y de la selva para adquirir la ingenuidad candorosa y llena de fasto que ostenta en América.

¿Cómo dejar de admirarla prodigalidad y la perfección con que la mayoría de nuestros poetas logra el prestigio de realizar el vacío absoluto?

A fuerza de gritar socorro se corre el riesgo de perder la voz.

En los mapas incunables, África es una serie de islas aisladas, pero los vientos hinchan sus cachetes en todas direcciones.

Los paréntesis de Faulkner son cárceles de negros.

Estamos tan pervertidos que la inhabilidad de lo ingenuo nos parece el "sumun" del arte.

La experiencia es la enfermedad que ofrece el menor peligro de contagio.

En vez de recurrir al whisky, Turner se emborracha de crepúsculo.

Las mujeres modernas olvidan que para desvestirse y desvestirlas se requiere un mínimo de indumentaria.

La vida es un largo embrutecimiento. La costumbre nos teje, diariamente, una telaraña en las pupilas; poco a poco nos aprisiona la sintaxis, el diccionario; los mosquitos pueden volar tocando la corneta, carecemos del coraje de llamarlos arcángeles, y cuando deseamos viajar nos dirigimos a una agencia de vapores en vez de metamorfosear una silla en un trasatlántico.

Ningún Stradivarius comparable en forma, ni en resonancia, a las caderas de ciertas colegialas.

¿Existe un llamado tan musicalmente emocionante como el de la llamarada de la enorme gasa que agita Isolda, reclamando desesperadamente la presencia de Tristán?

Aunque ellos mismos lo ignoren, ningún creador escribe para los otros, ni para sí mismo, ni mucho menos, para satisfacer un anhelo de creación, sino porque no puede dejar de escribir.

Ante la exquisitez del idioma francés, es comprensible la atracción que ejerce la palabra "merde".

El adulterio se ha generalizado tanto que urge rehabilitarlo o, por lo menos, cambiarle de nombre.

Las distancias se han acortado tanto que la ausencia y la nostalgia han perdido su sentido.

Tras todo cuadro español se presiente una danza macabra.

Lo prodigioso no es que Van Gogh se haya cortado una oreja, sino que conservara la otra.

La poesía siempre es lo otro, aquello que todos ignoran hasta que lo descubre un verdadero poeta.

Hasta Darío no existía un idioma tan rudo y maloliente como el español.

Segura de saber donde se hospeda la poesía, existe siempre una multitud impaciente y apresurada que corre en su busca pero, al llegar donde le han dicho que se aloja y preguntar por ella, invariablemente se le contesta: Se ha mudado.

Sólo después de arrojarlo todo por la borda somos capaces de ascender hacia nuestra propia nada.

La serie de sarcófagos que encerraban a las momias egipcias, son el desafío más perecedero y vano de la vida ante el poder de la muerte.

Los pintores chinos no pintan la naturaleza, la sueñan.

Hasta la aparición de Rembrandt nadie sospechó que la luz alcanzaría la dramaticidad e inagotable variedad de conflictos de las tragedias shakespearianas.

Aspiramos a ser lo que auténticamente somos, pero a medida que creemos lograrlo, nos invade el hartazgo de lo que realmente somos.

Ambicionamos no plagiarnos ni a nosotros mismos, a ser siempre distintos, a renovarnos en cada poema, pero a medida que se acumulan y forman nuestra escueta o frondosa producción, debemos reconocer que a lo largo de nuestra existencia hemos escrito un solo y único poema.
‘You have to come up to the house,’ she said,
‘I hate to be there at night,
I have two ghosts in the old bedposts
And each of them wants to fight,
They make their way to the kitchen there
And clatter the pots and pans,
The woman ghost is a Gretel, and
The masculine ghost is Hans.’

I said, ‘You must be imagining,
There’s not a ghost you can see,’
‘Well, I’ve got two and I’m telling you
I see, believe you me!
The guy is a cranky, violent fool,
He must have been bad in life,
While she defends herself with a stool
Each time that he beats his wife.’

The house was Gothic and Romanesque
And leaned out over the street,
It had an arch like a gothic church
With an overhead retreat.
And that’s where she kept the poster bed
Where the ghosts, she said, reside,
‘They can’t come out in the light of day
So they go in there to hide.’

We spent the evening playing cards
To wait for the witching hour,
Sat in our coats to await the ghosts
And their ectoplasmic shower,
‘It often gets messy,’ Cassandra said,
‘At the point they first appear,
They give out this vapour in the air,
A bit like the froth on beer.’

It must have been eleven o’clock
When Cassandra fell asleep,
I thought I could see her nodding off
Though her eyes began to peep,
Each nostril gave out a pale white smoke
And it formed on left and right,
One was Gretel and one was Hans
And it gave me quite a fright.

It didn’t take them a moment then,
She screamed and he would bawl,
He beat her with a broom handle and
Then pinned her against the wall,
She kicked him fair in the shins and ran
Right out of the room in there,
I watched him yell as he followed her
Down by the kitchen stair.

And then there was a clatter of pans
A noise like you’ve never heard,
They threw them around the kitchen
Until Gretel was calling ‘Merde!’
I tried to rouse Cassandra, who
Was groggy, but still awake,
I said, ‘You’ll have to be exorcised,’
And watched her begin to shake.

‘They may have been in the bedposts when
You came, I’m sure that’s true,
But maybe they found a better place
For now they live in you.’
I told her the ectoplasm formed
From her, and from whence it came,
She covered her mouth and nose and said,
‘They’ll never get back again!’

When daylight dawned in that gothic house
And the sun came shining in,
The ghosts came back to the bedroom and
They paid for their ghostly sin,
Cassandra fended them off until
They both were shouting, ‘Merde!’
Until the light had destroyed them with
A scream that you should have heard.

There’s not been a ghost in that gothic house
From then until this day,
I’m visiting still with Cassandra and
We’ve found a game to play,
It has to do with that poster bed
With its polished, wooden posts,
But the one thing that we’re certain of,
We’ll never be seen by ghosts.

David Lewis Paget
Edna Sweetlove Dec 2014
A lovely Barry Hodges poem

People think that Calais is just a charming port on the flat French coast
Replete with exquisite restaurants patronised by English visitors
Who have crossed the Channel to get a decent meal for once,
And who want to take advantage of the wondrous *savoire vivre francais
,
Even though they will get wittily insulted for their English accents.
There is more: the town has some of the finest late 40s architecture
To be found anywhere in the western world, spontaneously thrown up
After la ville ancienne was 95% flattened by the gallant but clumsy Brits
In what is still patriotically referred to as "La Libération".
But there is yet more to this gourmands' and cheap ***** buyers' mecca:
Believe me, I know, I have suffered a grievous and terrible loss there
When I blundered into a cheese shop on the Rue Royale one summer's day.

My companion that day was my dear fifth wife,  Winifred
(a four foot high but stoutly built ***** with a major speech impediment),
And, being attracted from five streets away to Maison Le Merde,
The world-famous fromagerie, by its unearthly overpowering pong,
My dear one, my lovely ****** spouse, dragged me through the door.
Choking back a desire to gag, she started stammering away to M. Le Merde,
Trying to order a couple of hundred grams of Carré de Mort Absolue,
When Mr L.M lost his rag totally and assumed wifey was trying to mock him
(How could one have known Monsieur was the French stuttering champion?)
And so he took out the cleaver he habitually kept behind the counter
To deter English tourists from stealing his cheesy comestibles,
And severed Winny's darling head in a single fell coup de grace
Which left her dramatically shorter than she previously was.

I managed to escape a similar dire fate by running like the clappers
And hiding in a nice toilette publique (femmes) while he stampeded by,
His mighty chopper in his cheese-impregnated Gallic paw.
And when I reported the matter to the gendarmerie, were they sympa?
They were no more helpful than seins sur un taureau fou
And insisted I should pay for the funeral there and then in advance,
Threatening me with a real good thumping dans mes **** should I decline.
Dear God, I shall have to use a different entry port to France next time
(although sur le grapevine I hear Boulogne is a bit of a dump),
But at least there aren't so many ******* would-be refugees.
Elsbeth Poe Feb 2014
Hey,
You're an *******, Darkness in my heartplace.
You think that property's for rent, mon frere?
It's ******* not, you *****. Get out of there.
If you smear your **** on the walls again, I swear.
I say it like it is. You're a *******. *******.
Merde.

E.Poe
*Feb 2014
Creep Nov 2014
Oh ****.
My mistake.
I fell in love with you.
Oops
Notice me senpai!
Jacky Xiang Aug 2010
Carefree drizzles softly sings as bliss and ease taken wing.
Gaze upon the auric blooms while sweet melodies, mellowing.
Alleviate our friend's crises, their debts, paid in purple silvers.
Eliminate those pesky mortal threats, lest blood spills in liters.

Toward our star, astride the verde, vibrant beauteous noise.
Abating virtues, without the merde, cometh Byronic poise.
A smoken distance, famished flames, fiery tongues yearning.
A fearful master, ***** dames, merry songs flowing.

Parallel meridians lovingly caress floating wisps of white.
Quarreling impulses embracing soaring orbs of light.
Bright.
See... sigh.

Lavender shades cushion our convents of misty mysteries.
Serene panacea tease me upon sapience; argent histories.
Ebullient crush casting glaring lights into the hostile wind.
Beneath dusky whirlwinds come hazel sparks of sand.

Glory guilty of detested crimes, anon trembling tears.
Inspiration follow thy limelight; guidance of young seers.
A canvas of blue, emotions ablaze through one hundred days.
Amber pillars burdened with wishful horizons... come what may.

Never believe our luxurious dreams under the rainy rainbow.
Drowning in sunshine, tis the era to escape the clutches of limbo.
Cease our anthropocentrics to soar on frozen blooms tonight.
Taste vermillion pain, lest we be gluttons, spying; useless insight.

Mirrors refracting broken perfection, for ever-clear prisms.
Commit altruist favors for all our mistaken rhythms.
Behold the mind, mightier than a sword, bitter tool of priests.
Crusading zen, grander than any reward, come join the feast. <3
Written on the bus returning from a Shakespearean play. "Love's Labour's Lost."
Scott T Jul 2011
Quesque'il faut pour ce cœur tourmenté
C’est une femme, une ancre à laquelle s’attacher
Cette femme, un fantôme qui trouble mon sommeil
n’est jamais à mon côté quand je me réveil

Je me gaspille tout seul en faisant rein.
Doucement vient la vieillisse, la peur, le chagrin.
La cure se trouve dans la femme parfaite
qui sait trouver l’ancien ordre et le remettre

Une tache de merde aura cette pauvre femme.
Sans grand chose en échange, balayer mon âme
Pour trouver son ancienne splendeur
Obscurci par le temps et la douleur
rolanda Jan 2014
trudging from lombard
pawned ring
to pay back long debt

Esta es mi vida.

wonderful friend sent a letter:
dont send me poems
I dont love poetry

Caminando por la calles.

On the streets Lanterns
blinding  eyes
while I need darkness

Yo tener enemigos en todos el mundo

letter from court
to pay penalty 1200 euro
for spraying graffities in Friedrichshain


Esta mi vida es afuera un campos de batalla.


i am hungry
I pick from some wheelchair near entrance of supermarket
one banan
towards me run and attacks me a huge drunkard
beat out from my hands banan
slaps in brow
and I fall on snowed pavement
feel no pains
he stays over me and yell: Sie klaute banane, Nutte!!
I low whisper: yourself schweine backe..
jump from spot and imaginary bite the **** of his imaginary gun

El mundo es maravilloso

I possess no more a laptop
i spilled wine on it
being taken aback of one scene of pure *******
of one lovely  guest in my flat
how now to write manifesting defending verses?

Politico de mierda que gobierna el pais.

Internet shop
whole night over
beneath of buzzing of casino machines
I sit and write the letter to imaginary dad
to imaginary lovely mom
to sweet sister or brother
well,  I have nobody of them
though would I be orphan
I guess my existence were not so dismal

Yo tengo el mi fierro por disparar.

I writing email to american situationist
his nickname is rasputin
I saying him, that I am situationist
and I am recently became persona non-grata
and I better die than
land in loony-bin
need your aid.
he answers with a link about  a war in Irak
my solar plexus clenchs tight

Puta yo no necesita usted!

Esta mi maniera,
Caminando por la calles,
Listo para morir,
Esta mi vida es terminada.

*

Friedrichshain- urban district in Berlin
Sie klaute banane, Nutte!- she stole a banan, *****!(german)
schweine backe- pig's **** (german)

(thank you Alessandro P. for lesson in spanish)

Esta es mi vida.    This is my life.
Caminando por la calles.  Walk on the streets
Yo tener enemigos en todos el mundo.I have enemies allover the world
Esta mi vida es afuera un campos de batalla.This is my life outside for the battlefield    
    
El mundo es maravilloso   The world is beautiful
Politico de mierda que gobierna el pais. Politic in this land is merde
Yo tengo el mi fierro por disparar. I have my iron for shooting
Puta yo no necesita usted.  *****, I dont need you


Esta mi maniera,
Caminando por la calles,
Listo para morir,
Esta mi vida es terminada:


this is my attitude
walking through the streets
to search for death
my life is finished
Mateuš Conrad Jul 2017
any reading of a philosophy book, outside of university, is mapped without the sort of strategy to receive a grade, for a "correct" interpretation (rather a regurgitation) of said work (mentioned below); to say it in simpler terms: i do not ever think that understanding a concept - in concreto - is worth some sort of "passing on the genes" (memes) of one individual to another - given that a meme has become pop culture, and as the french would put it:
        ce crasse et petit irritante chiotte valeur de merde
                                                                ­                        (i.e. un cliché) -
truly written like and englishman -
   a meme is that crass and small irritant bog's worth of ****
                                                            ­                                           ( " ),
   at least that's peckham french, del boy french,
                         i was well informed about this french dialect.

- and to even "think" why there are so many blue
indians, and so few piggies; perhaps it boils down
to the fact that the blue indians believe in
   burial within fire, rather than earth,
  and they prefer to surround themselves with the living,
rather than with the dead; and piggies do,
  graveyard upon graveyard,
    and that constant "nostalgia", idol-worship
of the past, where nothing greater can come again;
for those who surround themselves with the living,
their existence rages akin to the elemental
tomb of their burial... but for those who surround
themselves with the dead,
   their existences decompases akin to the elemental
tomb of their burial, a heart-broken: nightmarish
earth. -

for some reason, i always get these
"revelations" (for lack of a better word) -
as one might receive a signature
of a thunderstorm in the form of
lightning upon the sky -
           and it usually predicated by
listening to a few pop songs -
   and then listening to the
    *cantos of templar knights
-
            but then again, you sometimes
really need extremes,
     as the canadian sayings goes -
we only have two seasons,
    one's winter, the other is construction.

but this is about technicalities,
one could even cite the following as
the part of any contract, the terms & conditions
written in the smallest possible print,
   lodged in hardbacks worth over 30 quid -
not your cheap bestseller paperbacks -
   those too could be appreciated,
   but akin to pressure to keep a worth's of
expression in sanctum of a hardback?
   take the year 1996 for the cantos 1st
on toilet-paper (paperback) - but in brick?
take the year 1970...
  and where do the technicalities come in?

   - heidegger's ponderings V, aphorism 41 -
technicalities akin to the rules of
a game of cricket, or at least the pointing system.

but count it nonetheless, half an hour to scroll...
12,700+... till i got to april the 8th
  and resurrect a memory?

.  ע   ‎
יהוה ‎‎‎
א‎
                  sighs from on high...
      and laughter into the depths.


let us just say, that digital is
the new hardback edition -
    to condense my works into toilet-paper
till take more years and more pushy-pushy
tactics, to transform
     a hardback into something affordable...
but in reverse...
               what comical inversion,
   30 years will become 300 years to come
  about for someone to wipe-their-***-to-mouth
fathom of what went on at the genesis
of the birth of the internet,
   in some obscure location,
                  like a catholic school in england.

now the germanic pilot-plotline (regarding
aphorism 41, ponderings V):

    promo enigma-alchimia in vivo lingua,
             anti ipse (dixit) in lingua vitro.


(we're not in posh-boy grammar school,
the language is dead, it's become play-dough,
a malagrammaton-monœgo:
for a man's tongue is to his befitting desire
to state the terms of play).

da / ein-da / die-da          vs.                hier   vs.
                                      die-hier / ein-da


( there / a there / the there        vs.
                                                ­                 here    vs.
  the here / a there    -
                                
                               ­ atheistic scissors of
definite/indefinite articles/articulation of
    what's near, and what's far away,
     the dualistic-dichotomy of here&there,
  then&now...
           as far as i am concerned i cannot narrate
this akin to a vampire romance page-turner
bestseller... too many organic chemistry diagrams
concerning electron migration, sorry) -

   but given the "blank" slate genesis, starting
with articles... they go beyond being categorised
as definite or indefinite...
    namely... am i, or can i be assured that
      there's no X variations?
    i.e.
                da     ein da
                      X
       die hier     hier            ???????????????

               isn't ein hier merely "being"?
imagine being forced into a there -
                  without being the there,
akin to a zeitgeist, akin less!
      zeitgeist = a there (communism),
  but the there? that's what hegel
said of napoleon entering jena:
       "das ist ein weltgeist!" (capitalism).

and who are the anglophones?
  i cannot respect these "peoples" -
they constantly stutter when it comes to
  their lack of diacritical application,
they stutter... i might as well call them
the strabismus race...
    and if darwinism is to be the vector-catalyst
(hollywood was thrashing american cities
for decades, what damage could this
observation could possibly do?) -
  if darwinism is to be the prime historian,
that darwinism replaces actual history
and becomes neither in vitro, nor in vivo,
but in situ? why do scientists wonder why
universities are undermined in their
humanities, when scientific populism of
biology (i.e. darwinism) has undermined
papa historia? am i... missing something?!
     if you undermine a credible study within
the humanities with enough darwnism?
what do you get? inertia...
     you can burn crosses, but you can also
burn an image of a monkey into a man's mind,
the same result occurs!
      personally, i'd rather burn crosses,
i might end up drinking beer and joking with
a few skin-heads around an unsual campfire.

the other side just... "debates" loud-mouth
******* who haven't learned the gymnastics
of looking up those grandiose black-holes
of blah blah.... blah blah blah... blah...
     i'd like to ask them... does your **** of talk
ooze a perfume of.... strawberries?
   and the punk-fist fields... forever! ooh...
****** *******' salsa! shwing yir hips
ya bunch of conclaves (p.j.w.) - privacy
                     justice warriors).

        taoist's foregetfulness

grounded in maxim primus -
  to allow the world a breath, allow the world
to let you breathe as you deem fit,
   never too soon to be bound to genealogy,
esp. that of the genesis bound to
the new testament -
  for if the old testament begins with poetry,
and if truly metaphorically chained,
then how pitiful is the genesis of
the new testament, which begins with
  something as sorrowful as the nadir
of greek culture, the expired logos,
   a genealogy, with the greeks ransacking
the jews under roman rule,
  just like the ransacking of constantinople
by the venetians in 1204 (4th crusade)...
who'd start a "holy" book without poetry,
but a ******* geneaology?!
          no wonder poetry these days isn't
a rare appreciation...
    but cheap and as tsunami natured
   in its "production" as tabloid press,
  toothbrushes, toilet paper,
                        toothpicks, among other
                                               paraphernalia;
the new testament is such a massive turn-off...
if you don't begin with poetry,
esp. that of metaphor translated into imagery,
and instead begin with a branch of logic
that the new testament begins with, i.e.
genealogy... and then expect latter poetics
in the text to be taken literally?!
          clue the keen me into the clamours
of the poly-schismatic version of events...
    sure, christianity is a "polytheism",
                           in that it's poly-schismatic.

and of the garden, should adam have approached
first, as he would have done in asia -
         he would have talked with
the serpent sæwelō -
           perhaps that same serpent of
   caucasus - first, to have a thirst of
knowledge tamed - although never really -
  for the serpent sæwelō would have
tempted adam: eat of this tree, its fruit,
  and your thirst for knowledge will be
forever satiated!
   so said the serpent of order
   so said sæwelō (ᛋ), the sun-snake...
the serpent of illumination -
                            the golden serpent.
and so adam bit into the fruit,
   and such thirst as never before filled him,
a thirst for knowledge that hasn't
as of yet seized -
     for the fruit, which adam imagined
would be sweet - was actually filled with salt.

  and we are initiated into the myth
of how the other scenario took place with regards
to a woman approaching the serpent first,
       yes?
                and for the woman, the serpent
of chaos, known as ansuz (ᚨ) - the siamese -
who said both truth and lie simulatenously
  also known as the god who's name begins with
yod, in the roman tongue (Y),
                          and he said:
  you will know the difference between
good and evil -
    ah indeed he said so, but that said, it would
imply acts being simulatenously both,
rather than either / or -
he continued: you'll be like the æsir (gods)!
      knowing such distinctions,
                   and will know the meaning of fate,
and justice, and due recompense!

as etymological mutations occur,
   and translations into other tongues
go, let's begin with:

sieg heil - old english - sigel - hail sun!
       if ever a führer (the few, the rarer),
                        so too the sun's eclipse -
   louis xiv wouldn't have minded,
    but at least he ****** to his
         cockerel's content to praise sunrise -
but as it stands, an etymological
           "mutation" in translation: hail sun!

-------------------------- p.s. p.p.s. p.p.p.s. p.p.p.p.s.
    f(p.s.) ad infinitum: borrowing from
mathematics, i.e. f(x) - heidegger
invented the algebra of writing in a certain style
that's only worth a neurotic / autistic pedant's
worth of bother...

   let's just say, in terms of style,
                                        it's purely hellish,
   you can only go as far with a text
when the variations
  range from dasein, to da-sein
   to da-sein to da-sein (i.e. da-ßein) -
    to whatever else is enclosed in the book...
i haven't got the time to write
an expansion of these milimetres
            and a litre of *** waiting for me...

   inverse stress on being
              detached from a "there": da-ßein:

   with regard to the world and its being
   constituting beings (heidegger's style
of expression, i know, can be a muddle)...

all i wanted was an antonym:
   rather than the world and its there,
   i wanted the world and its nowhere,
or rather, a pure form of being: a here,
      being detached from beings,
   the infinite dance of "solipsism",
    mono-direct articulation /
   plural-direct articulation (a march) /
mono-indirect articulation (a thought) /
plural-indirect articulation (a commute home)...

in terms of dictionary ref. to oppose da (there):

ist da - is here
                hier - here
komm her! - come here!
           hier & da - here & there
                  auf der stelle - here & now

stelle:
       schnellen - quickly
   schwellen (ich bin) - i am swelling
schelle - bell
   bruchstelle - break

                            da-ßien = hiersien

i.e. stressor on being,
             which morphs into a reconstruction
of the original equation:

     i.e. "da"-ßien = hier-"sien" ≠ nichtsein...

    and the point being?
    the simple f(x) translation into philosophical
jargon... f(p.s.) ad infinitum...
                      this had to run into a cul de sac
at some point, given all the technicalities
and stylistic disparities between existentialists,
if any remained to live into the 21st century...
but the buggers ****** off
              let's just say the new wave
of concerning italics remains the still
unexplored territory of missing diacritical marks
in the english language...
    as much can be said about writing
            chair    as can be said about
   writing                  krzesło...
           (yes, a consonant grapheme, err-zed)...
funny, in grapheme terms...
   that the german grapheme ß
  never became a replacement of -sch-
     in english -sh- in slavic -sz-,
             seems to be more t'ss... wet snare...
          another example?
    (choo-choo) train / pociąg -
  and yes, that's not implying choo-choo,
   since it's obvious, the verb ćwiczyć:
to train.
Le bras sur un marteau gigantesque, effrayant
D'ivresse et de grandeur, le front vaste, riant
Comme un clairon d'airain, avec toute sa bouche,
Et prenant ce gros-là dans son regard farouche,
Le Forgeron parlait à Louis Seize, un jour
Que le Peuple était là, se tordant tout autour,
Et sur les lambris d'or traînant sa veste sale.
Or le bon roi, debout sur son ventre, était pâle,
Pâle comme un vaincu qu'on prend pour le gibet,
Et, soumis comme un chien, jamais ne regimbait,
Car ce maraud de forge aux énormes épaules
Lui disait de vieux mots et des choses si drôles,
Que cela l'empoignait au front, comme cela !
" Or tu sais bien, Monsieur, nous chantions tra la la
Et nous piquions les boeufs vers les sillons des autres :
Le Chanoine au soleil filait des patenôtres
Sur des chapelets clairs grenés de pièces d'or
Le Seigneur, à cheval, passait, sonnant du cor
Et l'un avec la hart, l'autre avec la cravache
Nous fouaillaient. - Hébétés comme des yeux de vache,
Nos yeux ne pleuraient plus ; nous allions, nous allions,
Et quand nous avions mis le pays en sillons,
Quand nous avions laissé dans cette terre noire
Un peu de notre chair.., nous avions un pourboire :
On nous faisait flamber nos taudis dans la nuit ;
Nos petits y faisaient un gâteau fort bien cuit. ...
" Oh ! je ne me plains pas. Je te dis mes bêtises,
C'est entre nous. J'admets que tu me contredises.
Or n'est-ce pas joyeux de voir au mois de juin
Dans les granges entrer des voitures de foin
Énormes ? De sentir l'odeur de ce qui pousse,
Des vergers quand il pleut un peu, de l'herbe rousse ?
De voir des blés, des blés, des épis pleins de grain,
De penser que cela prépare bien du pain ?...
Oh ! plus fort, on irait, au fourneau qui s'allume,
Chanter joyeusement en martelant l'enclume,
Si l'on était certain de pouvoir prendre un peu,
Étant homme, à la fin ! de ce que donne Dieu !
- Mais voilà, c'est toujours la même vieille histoire !

" Mais je sais, maintenant ! Moi, je ne peux plus croire,
Quand j'ai deux bonnes mains, mon front et mon marteau,
Qu'un homme vienne là, dague sur le manteau,
Et me dise : Mon gars, ensemence ma terre ;
Que l'on arrive encor quand ce serait la guerre,
Me prendre mon garçon comme cela, chez moi !
- Moi, je serais un homme, et toi, tu serais roi,
Tu me dirais : Je veux !... - Tu vois bien, c'est stupide.
Tu crois que j'aime voir ta baraque splendide,
Tes officiers dorés, tes mille chenapans,
Tes palsembleu bâtards tournant comme des paons :
Ils ont rempli ton nid de l'odeur de nos filles
Et de petits billets pour nous mettre aux Bastilles,
Et nous dirons : C'est bien : les pauvres à genoux !
Nous dorerons ton Louvre en donnant nos gros sous !
Et tu te soûleras, tu feras belle fête.
- Et ces Messieurs riront, les reins sur notre tête !

" Non. Ces saletés-là datent de nos papas !
Oh ! Le Peuple n'est plus une putain. Trois pas
Et, tous, nous avons mis ta Bastille en poussière.
Cette bête suait du sang à chaque pierre
Et c'était dégoûtant, la Bastille debout
Avec ses murs lépreux qui nous racontaient tout
Et, toujours, nous tenaient enfermés dans leur ombre !

- Citoyen ! citoyen ! c'était le passé sombre
Qui croulait, qui râlait, quand nous prîmes la tour !
Nous avions quelque chose au coeur comme l'amour.
Nous avions embrassé nos fils sur nos poitrines.
Et, comme des chevaux, en soufflant des narines
Nous allions, fiers et forts, et ça nous battait là...
Nous marchions au soleil, front haut, - comme cela, -
Dans Paris ! On venait devant nos vestes sales.
Enfin ! Nous nous sentions Hommes ! Nous étions pâles,
Sire, nous étions soûls de terribles espoirs :
Et quand nous fûmes là, devant les donjons noirs,
Agitant nos clairons et nos feuilles de chêne,
Les piques à la main ; nous n'eûmes pas de haine,
- Nous nous sentions si forts, nous voulions être doux !

" Et depuis ce jour-là, nous sommes comme fous !
Le tas des ouvriers a monté dans la rue,
Et ces maudits s'en vont, foule toujours accrue
De sombres revenants, aux portes des richards.
Moi, je cours avec eux assommer les mouchards :
Et je vais dans Paris, noir marteau sur l'épaule,
Farouche, à chaque coin balayant quelque drôle,
Et, si tu me riais au nez, je te tuerais !
- Puis, tu peux y compter tu te feras des frais
Avec tes hommes noirs, qui prennent nos requêtes
Pour se les renvoyer comme sur des raquettes
Et, tout bas, les malins ! se disent : " Qu'ils sont sots ! "
Pour mitonner des lois, coller de petits pots
Pleins de jolis décrets roses et de droguailles,
S'amuser à couper proprement quelques tailles.
Puis se boucher le nez quand nous marchons près d'eux,
- Nos doux représentants qui nous trouvent crasseux ! -
Pour ne rien redouter, rien, que les baïonnettes...,
C'est très bien. Foin de leur tabatière à sornettes !
Nous en avons assez, là, de ces cerveaux plats
Et de ces ventres-dieux. Ah ! ce sont là les plats
Que tu nous sers, bourgeois, quand nous sommes féroces,
Quand nous brisons déjà les sceptres et les crosses !... "
Il le prend par le bras, arrache le velours
Des rideaux, et lui montre en bas les larges cours
Où fourmille, où fourmille, où se lève la foule,
La foule épouvantable avec des bruits de houle,
Hurlant comme une chienne, hurlant comme une mer,
Avec ses bâtons forts et ses piques de fer
Ses tambours, ses grands cris de halles et de bouges,
Tas sombre de haillons saignant de bonnets rouges :
L'Homme, par la fenêtre ouverte, montre tout
Au roi pâle et suant qui chancelle debout,
Malade à regarder cela !
" C'est la Crapule,
Sire. Ça bave aux murs, ça monte, ça pullule :
- Puisqu'ils ne mangent pas, Sire, ce sont des gueux !
Je suis un forgeron : ma femme est avec eux,
Folle ! Elle croit trouver du pain aux Tuileries !
- On ne veut pas de nous dans les boulangeries.
J'ai trois petits. Je suis crapule. - Je connais
Des vieilles qui s'en vont pleurant sous leurs bonnets
Parce qu'on leur a pris leur garçon ou leur fille :
C'est la crapule. - Un homme était à la Bastille,
Un autre était forçat : et tous deux, citoyens
Honnêtes. Libérés, ils sont comme des chiens :
On les insulte ! Alors, ils ont là quelque chose
Qui leur l'ait mal, allez ! C'est terrible, et c'est cause
Que se sentant brisés, que, se sentant damnés,
Ils sont là, maintenant, hurlant sous votre nez !
Crapule. - Là-dedans sont des filles, infâmes ,
Parce que, - vous saviez que c'est faible, les femmes, -
Messeigneurs de la cour, - que ça veut toujours bien, -
Vous avez craché sur l'âme, comme rien !
Vos belles, aujourd'hui, sont là. C'est la crapule.

" Oh ! tous les Malheureux, tous ceux dont le dos brûle
Sous le soleil féroce, et qui vont, et qui vont,
Qui dans ce travail-là sentent crever leur front...
Chapeau bas, mes bourgeois ! Oh ! ceux-là, sont les Hommes !
Nous sommes Ouvriers, Sire ! Ouvriers ! Nous sommes
Pour les grands temps nouveaux où l'on voudra savoir,
Où l'Homme forgera du matin jusqu'au soir
Chasseur des grands effets, chasseur des grandes causes,
Où, lentement vainqueur il domptera les choses
Et montera sur Tout, comme sur un cheval !
Oh ! splendides lueurs des forges ! Plus de mal,
Plus ! - Ce qu'on ne sait pas, c'est peut-être terrible :
Nous saurons ! - Nos marteaux en main, passons au crible
Tout ce que nous savons : puis, Frères, en avant !
Nous faisons quelquefois ce grand rêve émouvant
De vivre simplement, ardemment, sans rien dire
De mauvais, travaillant sous l'auguste sourire
D'une femme qu'on aime avec un noble amour :
Et l'on travaillerait fièrement tout le jour
Écoutant le devoir comme un clairon qui sonne :
Et l'on se sentirait très heureux ; et personne,
Oh ! personne, surtout, ne vous ferait ployer !
On aurait un fusil au-dessus du foyer...

" Oh ! mais l'air est tout plein d'une odeur de bataille !
Que te disais-je donc ? Je suis de la canaille !
Il reste des mouchards et des accapareurs.
Nous sommes libres, nous ! Nous avons des terreurs
Où nous nous sentons grands, oh ! si grands ! Tout à l'heure
Je parlais de devoir calme, d'une demeure...
Regarde donc le ciel ! - C'est trop petit pour nous,
Nous crèverions de chaud, nous serions à genoux !
Regarde donc le ciel ! - Je rentre dans la foule,
Dans la grande canaille effroyable, qui roule,
Sire, tes vieux canons sur les sales pavés :
- Oh ! quand nous serons morts, nous les aurons lavés
- Et si, devant nos cris, devant notre vengeance,
Les pattes des vieux rois mordorés, sur la France
Poussent leurs régiments en habits de gala,
Eh bien, n'est-ce pas, vous tous ? - Merde à ces chiens-là ! "

- Il reprit son marteau sur l'épaule.
La foule
Près de cet homme-là se sentait l'âme soûle,
Et, dans la grande cour dans les appartements,
Où Paris haletait avec des hurlements,
Un frisson secoua l'immense populace.
Alors, de sa main large et superbe de crasse,
Bien que le roi ventru suât, le Forgeron,
Terrible, lui jeta le bonnet rouge au front !
Mairie Rosina Nov 2014
Ah me, what can I do?
I see the fear and the pain,
The terror and the unfair gain,
The starving masses through a screen,
News reported blandly;
A woman *****, her strangled throat
Cannot voice her pain,
Black children shot, democracies rot;
We must enrol to vote.
Yes! Use our voices and
Pick the suited white man, who
Best represents our feelings;
We might as well be kneeling
As picking from that self-same lot
Of narrow minds and paunchy pots,
Ah me! If I only knew
What I could do.
For now I only have these tossing thoughts
So hard to sort, or to abort;
Truth and lies, life, demise,
So I only utter, as I watch the TV screen
A silent scream;
Ah me! One day, will I find my voice?*
Voice my findings and my rage?
Have enough nous, be enough sage
To let that scream be heard,
And crack through the screen’s merde?
Ryan O'Leary Mar 2019
En France, the fans
hit the ****.

Tout a L'Egout
**** you too.

**** mon ******
what a good shot.

Gendarmes are Cochons
feel at home in the merde,

But it's flavoured with Garlic,
so the stink's a bit Werde ?

Ps.

****** Maura Ein Volk.

Ta Bfalla haon Daoine.

And with that, Ryan goes
off the grind the coffee beans.

Time now 07 : 19.

Mallow in Ireland.

La deas agat.
Ryan O'Leary Feb 2019
Le tout a l'gout de Paris
est plein de gaz Methane.

             \\|| / /
               BOMB

      Merde partout!

             Ca Ca

       Maintenant
       Mr. Macron.

       Go & ****
          Yourself.

This works for May
   and Trump also.
Aaron Tangkengko Jun 2014
The Underground Man

“By the way, what does a decent chap talk about with  greatest possible pleasure?
Answer: about himself.”

Note one: On the Circus.

Lies are cars, I tell you, pummeling through the freeways of smiling faces and charmed ears.
Spitting smoke in my eyes. Despite this clear fact, honesty is *****.
I turn on the TV, I choke on the noxious laughing gases of the permanently paradoxical world.
******* smells of roses. We’re wooed by the scent of scandalous roses.
******* is a beautiful bouquet beating on so many dead horses. A million bouquet armed gadflies
Stinging the horse. Grating her with their stems and thorns.
Our lips contracts as sphincters in a never dead language, a romance language

L’amour du merde.

The air smells of rosebuds and vanilla candles, and I break into ulcers.

They sing the sugar songs. Muddled by the sound of a flock, imitating a fog-horn blaring in the mist of song. Speaking openly is **** and the **** clinch tightly to keep it in.
But we dance with bouquets reeking of peppermint, gumdrops and bon bons, smiling with courtesy, modernizing a Victorian cordiality
A half-made smile. Fetal. Sloppily pasted. Circus clown faces hysterically melting under the intensity of the honest moment.
It is truth: Half of the single human life is spent taking part in the most pornographic reality we can conceive, while the other half is a mask pretending we don’t grab the ***.

Note Two: We are an aftertaste.

Some days I feel ugly to the world. I justify these sensations by the believing the world to be ugly to me in return. So the world and I glare at one another in a staring contest between two ugly wounds. We’re really quite eager to bark the last word in a garbled string of language.

BLAH! BLAH! BLAH!!

Going on in the nights where my eyes are wracked by the tired pins and needles of insomnia.
My heart rate jumps to the skipping rope turned by anxiety and exertion.
Muscles are stretched thin and I’m no more fluid and wanted than old Play-Doh left to cringe in the sun.

Then the red glow of alarm clocks shriek at me to lie in sleep.

I’m a hammer split against a wall stored in a shanty hovel pooling of novels and slanders hissed through grit teeth and clenched jaws wading through this growing cesspool where I hiss and hiss as a coiled snake residing in these hidden underground passages.

I will be vile because the world is vile. And I will be beautiful for the world is beautiful. Humanity is the manticore. A Monster consisting of a million realities. A colour palette of melting hues and every person wants to say we’re pink, red, or green. We’re a mysterious aftertaste, left lingering in the back of nature’s tongue. A platypus walking on two legs. A monster with eyes leaking ****, with irises more alluring than Shakespearean Sonnets. An Angel with a lyre belting out the best of Bob Dylan. A mother leaving her newborn to rot in a dumpster.
And a doctor saying he ain’t gonna make it. Mama’***** the bottle cuz’ daddy’s comin home and daddy’s hittin’ mommy because look at what she made him do.

Humanity is a manticore. He gnashes her teeth at coiled snakes. He wants to swallow its eggs.
A bank machine to wallets, and creditors to pockets.
She’s crude and cold. He has eyes of atomic flashes, roar that wails an echoing wail of lives spent sighing behind a monitor. Tragedies piling into transcendence, gripping onto God with heads packed into ovens and daughter swallowing one pill too many.
Of wedding bells and birthday parties and strawberry shortcake and the hope we’ll just get together and feel all right. He has an underbelly glistening of ivory white, and she’s brimming with dreams filling with the hope of seeing Xanadu. A belly of ecstasy and climaxes of the most ruthless sort to glisten to the light of ****** that embers the night towards the ecstatic scent of chemical mornings.


The gravedigger.
I am the world’s gravedigger
Burying the world
In the needless disgust
Of a muscular mind, armed with an atrophied hand.
thymos Sep 2015
after twenty years, my life is still embryonic:
i guess it pertains to the self-same me to be tragic and comic.
by this age, Rimbaud had already renounced poetry, leaving
in fury shattered instruments of alchemy and sublime scrolls
from hell, scrawled impeccably in drug-infused-blood and divine
protest, depicting beatific visions of love, infinite aching bodies
and disordered senses;
by this age, he had already heeded the call of adventure,
known destitute poverty and absolute ecstasy, triviality
and magnificence,
and was bound for an obscure exploration, marriage,
trading in slaves
and was past half way to a tedious death.
but what have i seen? and what is this?—merde!
after twenty years, my life is still embryonic:
i guess it pertains to the self-same me to be tragic and comic.
Mateuš Conrad Apr 2022
this was today:

a splendid breakfast, ****** black intestines...
whatever the hell they put in those...
pig brain cartilage, blood, liver... barley...
fried with some onions, eaten with a decently toasted bread...
then... figuring out what to do with the ****-show
in the garden, three trips to the recycling centre
with rotten timber, and, some spare parts...

conversations with father...
football, the Grand National... i hate myself for this...
i'm not a gambling man...
but each year like clocks go back come the winter
months and like clocks go forward come the summer
months... i place a bet on the Grand National...
a bit like Harold Norse might have claimed
at not being a man... i'm not a man...
i don't gamble... i hate gambling...
today proved my point...
   yet again...
         i don't know how Bukowski or Dostoyevsky
managed a habit... i'd much rather work some
menial work and... then... yeah "gamble" with
a *******... gambling for me is more the thrill
of the unexpected than: expecting to fall-flat on my face...
having unprotected ***... but... just checking:
she might inform me... a ****** doesn't make
a lot of difference... if... you're not smarting-up
with your hygiene... so i get the exclusive no ******
******* into her... that's gambling...
a different sort of gambling...
  i'm the horse and the jockey...
the bet? oh... that's somewhere in the back of my mind
when i pay for an hour...
whatever... i'm a man and i'm not a man
in how the normal man would rather place a bet
on a horse than... have unprotected *** with a *******...
all... or nothing... that's me...
because i'm so ******* with myself...
i only bet a £1 on this one horse... each way...
so even if he came in 5th... i'd get a return...
so each way implies: a £1 bet you cough up £2...
for security... and he was running so splendidly for
about 28 fences... at times first... at times third...
****** gave up... after the last fence...
came in 6th...

     but what's frustrating about betting on horses...
or football teams...
like with this girl Jeminah... single mum...
bankrupt / a bad credit score...
i get these wrong sort of butterflies in my stomach...
when i start courting her...
drop round... one time... twice...
i promise her a bottle of homemade wine...
well... first "date" we just talk... job issues...
i already know she's bullshitting about me behind
my back... i keep a watch... second date
i bring the wine and some banana loaf that i too
have made... i'm getting these stomach crunches:
this is such a good idea! my ego-phallus is demanding...
but... my digestive system is rebelling against me:
check again...
   i had this ****** on a line and sinker!
if only i had the sort of intestines that might warn me...
about what could be or couldn't be
a good bet... i had him in my sight!
the Grand National Winner!
   i had him... there's no logic to gambling...
but this time around there sort of was...
   if i could only have the gut feelings in-tune with a
winner... like i might... with a female: loser-project...
*******, cycling drunk to her house...
leaving flowers in the middle of the night...
hot-head me... well... yeah...
you go to prostitutes from time to time...
you're going to get a hot-head...
               ******* ginger lasses...
                       but if i can get these right sort
of sensations concerning women...
who the hell cares if i don't get the same sensations
when it comes to horses, running for a gamble?
long-term projects... i like those...
i'd much prefer earning an honest wage
than winning some spare cash on the sly...
i hate gambling...
   but i ******* had him!
             i was looking through the list...
   Longhouse Poet: 14 - 1... poet... poet...
                  poets... Irish poets... W. B. Yeats...
why didn't my gut find my brains? i asked my father
on one of our trips to the recycling centre...
chances of a 7 year old winning it?
i heard... not since 1940?
  no... no chance, he replied... what about the 13 year old?
Blaklion - last time a 13 year old won
the Grand National was back in 1923...
but i had this Noble Yeats... **** me... 50 - 1 on my mind...
i was thinking... Longhouse Poet... Poet...
Yeats! come on!
  see... this is why i hate gambling...
i get the proper gut feelings when it comes to women...
no... she's no good... three ******* days of
constant stomach crunching without doing
any crunches... constipation... ooh... i'd love to simply
**** her: but... she's of that sort of age
where... a casual fling isn't simply going to cut it...
can't i just replace these gut-wrenches when
it comes to betting on the right horse...
just once a year... i had the ******... in my grasp!
there was also this horse: Freewheelin Dylan...
but... Bob Dylan is a lyricist...
   he's not the Dylan Thomas... so... three poet horses...
i just sort of ******* knew...
but... money muddles judgement...
unless... it concerns prostitutes...
    because that's what gambling has replaced:
the old religious superstitions...
talk of demons is equivalent to the talk of luck...
to hell with it...
              the same old religious superstitions have
been usurped by secular gambling habits!
so... why do i get these gut feelings of repulsion
i first think of as infatuation: rightly so...
oh... she was a cougar i'd love to pass...
why can't i focus that sort of gut sensations
when it comes to betting on the winning horse?
easy money...inherit a mountain:
without how many pebbles it takes to give
a mountain its form...
     maybe i'm lucky... in that respect...
     maybe life has allowed me to... hmm... see:
the bigger picture...
    if i can cough up for one hour living dangerously
with a *******... and... this sort of woman...
is not shoving me her offspring down
my throat... while's she's looking for
beta-bucks deluxe... i think that's better than
betting on a winning horse...
  give me the menial task... forget it...
earning money: freely... easily...
         but... i'd love that Spiderman sort
of sensation on a good bet...
mind you: i had a good-sensation... a premonition...
i just listened to bad advice...
with women? i don't listen to any advice...
i just... cruise... automatically solo...
     but thank god i only gamble with a quid's worth
once a year... i had W. B. Yeats in my mind...
ugh! it's so frustrating!
   like with the women in my life...
the mares keep nodding: upon approach at the first
hurdle... last hurdle... the image of:
pretending to sniff my eyelashes...
          the horse is looking for: side-lining it to:
side-lining "blinkers"... no good...
this... custard... is fresh?!
              stay up to 1am... wake up 20 minutes prior
to 8am... have a croissant and coffee at Putney Bridge...
before the lazy-assed Somalis: depending...
decide to... feel important...
which is never... fair enough...
Thames goes down to glue...
          i hate gambling...
                i never gamble...
this is what it might possibly feel like not having written
Crime & Punishment...
which, given the current year?
feels... pretty ******* good! oh, no...
no high-brow type of motivation to keep
the European literary up-keep of "culture"...
that load of *******... is long gone...
enter African: grime... enter... horse-****-imitation-sludge.

that way yesterday:

just at my annual check-up with the nurse...
the woman sat there, amazed...
although still worried about my high-blood pressure...
we agreed... no matter the diet:
i avoid fruit, i don't like too much sugar...
i prefer eating vegetables...
come to think of it... only yesterday i ate a...
medium-rare slice of beef with nothing
but salt, pepper... some toasted sourdough...
i was going to make myself a creamy mushroom
sauce with too much parsley...
but i was like: n'ah... not going to happen...
i'm a puritan when it comes to beef...
less is more...
i even told my mother: in it for the calories...
i don't care what it is...
like Socrates once said:
some people eat to live...
while others: live to eat... i'm of the former
persuasion... but don't get me wrong...
i like the chemistry experiments that go around
cooking up a decent curry...
work was fun, always is...
i'm always very, hardly: talkative...
unless i'm probed... tickled... in the right way...
after being rejected by Jeminah...
that auburn... conker... beau...
                       my god... after being rejected by her...
i've built up a fetish for gingers...
sure... the mythological blonde...
the Turkic raven hair black...
   but gingers... and Gaelic...
   i feel like an elder Saxon coming to these shores
when i see that pale skin, those freckles...
i see ginger i turn into a bull that charges
against: fuchsia... because bulls never charge
against prime colours...
like red... bull charge against a hue of something
between red and purple... almost UV...
fluorescent... fuchsia... is a hue: it's not a colour...
per se... since it mingle red with purple...
or... is it blue?
           i've learned that rejection by something
specific makes me more predatory if other similar
examples proper their heads up...
ginger girls... pale skin... freckles...
i'm ******* zoning in... cruising... circling...
but it's not my fault if women find me intimidating...
this one at work... oh my god...
if she was 20 years prior... from Dublin...
i already told her: i have a James Joyce hard-on...
what did we talk about? her working in a care-home
with dementia patients... Gaelic...
like i had this friend once... her name was:
spoken: N-E-E-V... kneeve in English...
that's already adding letters: not said... the surd K...
but... how was her name spelled?
******* Niamh... Niamh said is... *******
Neave?! she loved learning French, i hated it...
merde... again... what's that loose E doing in that word?
that's what i love about ****** spreschen...
distinct syllable, distinction between vowels and
consonants...
westerners tell us: too many consonants! too many!
the easterners might counter with:
TOO, MANY, *******, VOWELS!
i can't see what you're about to say if
you write one way, but speak another!
   but my nurse was very much shocked...
two years ago i weighed in at 117.9kg...
she weighed me today... 98,7kg...
        lean, slim, pretty *******: i dare say...
what did we talk about?
oh... that blood pressure "thing": it runs in the family...
144 / 96... the second measure is about...
circulation or something... the first can be high,
that's good... means you're pumping...
problem with her middle child...
   the elder son managed to buy a house...
the middle child is having issues... i choked about being
the only child... and... well... with me?
it would have to become borderline patricide...
i think she got the joke...
   the son gets along with his younger sister...
blah blah...
then... on a scale of 0 to 5...
depression and... anxiety...
the anxiety questions i put back to her:
do i look anxious?
   depression? can i use the term melancholy?
my grandfather died "recently":
i'm sort of churning out... being reflective concerning
mortality... how's that?
i cycle like a madman... well... that was lovely...
just watching her face... behind that 2021 *****...
how did i do it? walked at first... marathon lengths...
to St. Paul's and back...
  then i got on my bicycle...
but... you see... i had this friend... he was a big too...
but he avoided doing cardiovascular exercise...
hit the gym... later? problems with loose skin...
it takes time... cardiovascular exercises tones you:
since you're applying repeated strain...
you're not trying to bulge up...
you can't turn fat into protein mass...
you need to burn the fat off... then you can start
building up protein mass...
and... repeated strain... is more important than...
just pumping iron...
Yatma Faye Oct 2018
Ô Afrique
Je suis fière mais en même temps j’ai honte
Fière parce que chaque fois qu’il y’a un Blaise,
il y’a aussi un Sankara à côté, prêt pour se sacrifier sa vie pour ton bonheur.
J’ai honte parce que chaque fois qu’il y’a un Sankara, il y’a aussi un Blaise derrière et qui n’insiste jamais de lui prendre la vie.
Ô Afrique
L'assassinat de tes leaders au pouvoir c’est manque de conscience de tes propres fils.
Ce derniers deviennent même tes propre ennemis
À chaque fois que l’un de tes fils lève son arme c’est pour contre l’un de ses frères ou sœurs.
Mais quand ils ont un peu de diamants ou de l’ors, ils jettent leur pirogues dans l’Océan Atlantique vers l’Occident.
  Ô Afrique
Ils te tournent le dos en pleine nuit, avec des tonnerres de méchancetés sans même avoir
pitié du pluie de tes  larmes.
C’est à cause de ce genre d’universalistes que
tu es dans la merde mon Afrique
Parce que chaque fois qu’une puissance étrangère vient piller, ils se lèvent contre leurs propres frères et sœurs en disant
« Les blancs sont des bons sans eux on n’a rien et tuent leurs propres frères et sœurs parfois juste pour un visa et une photo sur les champs Elysée »
Follow me on Instagram: @ytmfye
Deana Luna Oct 2013
je ne sais pas quoi dire, mais.

bon.

je suis ouverte. je suis là. je suis morte.

je suis qui je suis, et vous ne me comprenez pas. alors... merde.

__
translated:

I don't know what to say but.

ok.

I am open. I am here. I am dead.

I am who I am, and you all do not understand me. so... ****.
Filomena Mar 2022
Yes! That's it!
I'll sell my ****!
Packed up in tin!
I'll be a hit!

For all the art
My mind creates
Amounts to ****
My reason hates

But if you'd like
To feel confused
Then take a look
Or just peruse!
After midnight Mar. 5/6, 2022

— The End —