Lovers entered a forbidden forest bower,
And as they stalked that range, with eyes glazed,
She offered up her hind. Now, with doe eyes,
Deep as his, deep in arousal's sleep, heels fell, 
As he knocked and pulled her dark honey hair 
And whispered, surrender, into wanting ears, 
Softly he drove his hunting command, homing 
To his huntress.

Her body braced, yet bade, with heat and vibrance.
Ruthlessly, he ****** his arrow deeper and then 
Once more and then again.  She bucked fiercely 
And defiant, goading his prodding lance ever more
Ever longer, and parting the pink lines of her white
Rose, he was, and once again, Prince to the dark
Dominion of her quarters.

In the middle of this carnal match they paused.
And looking into the forest beyond they saw
A yearling fawn, a feral Goddess, grazing still, 
Bathing in a vale, virginal, wholly unmoved 
By their act of venery, lustfully playing, in the innocent 
Leaves.  It was as if they were among her kin, a gentle 
Doe and a noble stag. From that moment on 
The human hunters did not speak.

Falling, again, rolling eyes were deep in arousal's sleep.
Her back was a crescent moon pocked and wet with dew.
He could feel her heart beating in time with his piercing 
Prong, her arching back glistened in the suns spittle
As it broke through the dark and vernal ceiling wood.

In the final shot her quivering buck lowered and broke
And a sound not heard, made a scene, a sweet murmuring
Shuddered and sank onto the floor of the forest leaves 
With her tale, taken and told, her breathless breath, 
Her nostrils cold and her heated and lanced openings 
Dripping, draining; here was a New World’s beginning.

Sated, solemn and softly quaking, his woman sweetly laid,
And now, doomed with her doe eyes, two lovers, fated, made;
She glowed, divine, like the rolling brook that mellowed
Slow, in the vine-dark and golden forest stable,
In Artemis’s wood.

1969 Hartford art school is magnet for exceedingly intelligent over-sensitive under-achievers alluring freaks congenital creeps and anyone who cannot cut it in straight world it is about loners dreamers stoners clowns cliques of posers competing to dress draw act most outrageous weird wonderful classrooms clash in diversity of needs some students get it right off while others require so much individual attention one girl constantly raises her hand calls for everything to be repeated explained creativity is treated as trouble and compliance to instruction rewarded most of faculty are of opinion kids are not capable of making original artwork teachers discourage students from dream of becoming well-known until they are older more experienced only practiced skilled artists are competent to create ‘real art’ defined by how much struggle or multiple meanings weave through the work Odysseus wants to make magic boxes without knowing or being informed of Joseph Cornell one teacher tells him you think you’re going to invent some new color the world has never seen? you’re just some rowdy brat from the midwest with a lot of crazy ideas and no evidence of authenticity another teacher warns you’re nothing more than a bricoleur! Odysseus questions what’s a bricoleur teacher informs a rogue handyman who haphazardly constructs from whatever is immediately available Odysseus questions what’s wrong with that? teacher answers it’s low-class folk junk  possessing no real intellectual value independently he reads Marshall McLuhan’s “The Medium Is The Message” and “The Notebooks of Leonardo da Vinci” he memorizes introductory remark of Leonardo’s “i must do like one who comes last to the fair and can find no other way of providing for himself than by taking all the things already seen by others and not taken by reason of their lesser value” Odysseus dreams of becoming accomplished important artist like Robert Rauschenberg Jasper Johns Andy Warhol he dreams of being in eye of hurricane New York art scene he works for university newspaper and is nicknamed crashkiss the newspaper editor is leader in student movement and folk singer who croons “45 caliber man, you’re so much more than our 22, but there’s so many more of us than you” Odysseus grows mustache wears flower printed pants vintage 1940’s leather jacket g.i. surplus clothes he makes many friends his gift for hooking up with girls is uncanny he is long haired drug-crazed hippie enjoying popularity previously unknown to him rock bands play at art openings everyone flirts dances gets ****** lots of activism on campus New York Times dubs university of Hartford “Berkeley of the east coast” holding up ******* in peace sign is subversive in 1969 symbol of rebellion youth solidarity gesture against war hawks rednecks corporate America acknowledgment of potential beyond materialistic self-righteous values of status quo sign of what could be in universe filled with incredible possibilities he moves in with  painting student one year advanced named Todd Whitman Todd has curly blond hair sturdy build wire rimmed glasses impish smile gemini superb draftsman amazing artist Todd emulates Francisco de Goya and Albrecht Durer Todd’s talent overshadows Odysseus’s Todd’s dad is accomplished professor at distinguished college in Massachusetts to celebrate Odysseus’s arrival Todd cooks all day preparing spaghetti dinner when Odysseus arrives home tripping on acid without appetite Todd is disappointed Odysseus runs down to corner store buys large bottle of wine returns to house Todd is eating spaghetti alone they get drunk together then pierce each other’s ears with needles ice wine cork pierced ears are outlaw style of bad *** bikers like Hell’s Angels Todd says you are a real original Odys and funny too Odysseus asks funny, how? Todd answers you are one crazy ******* drop acid whenever you want smoke **** then go to class this is fun tonight Odys getting drunk and piercing our ears Odysseus says yup i’m having a good time too Todd and Odysseus become best friends Odysseus turns Todd on to Sylvia Plath’s “The Bell Jar” and “Ariel” then they both read Ted Hughes “Crow” illustrated with Leonard Baskin prints Todd turns Odysseus on to German Expressionist painting art movement of garish colors emotionally violent imagery from 1905-1925 later infuriating Third ***** who deemed the work “degenerate” Odysseus dives into works of Max Beckmann Otto Dix Conrad Felixmulller Barthel Gilles George Grosz Erich Heckel Ernst Ludwig Kirchner Felix Nussbaum Karl *******Rottluff Carl Hofer August Macke Max Peckstein Elfriede Lohse-Wachtler Egon Shiele list goes on in 1969 most parents don’t have money to buy their children cars most kids living off campus either ride bikes or hitchhike to school then back home on weekends often without a penny in their pockets Odysseus and Todd randomly select a highway and hitch rides to Putney Vermont Brattleboro Boston Cape Cod New York City or D.C. in search of adventure there is always trouble to be found curious girls to assist in Georgetown Odysseus sleeps with skinny girl with webbed toes who believes he is Jesus he tries to dissuade her but she is convinced

Toby Mantis is visiting New York City artist at Hartford art school he looks like huskier handsomer version of Ringo Starr and women dig him he builds stretchers and stretches canvases for Warhol lives in huge loft in Soho on Broadway and Bleeker invites Odysseus to come down on weekends hang out Toby takes him to Max’s Kansas City Warhol’s Electric Circus they wander all night into morning there are printing companies longshoremen gays in Chelsea Italians in West Village hippies playing guitars protesting the war in Washington Square all kinds of hollering crazies passing out fliers pins in Union Square Toby is hard drinker Odysseus has trouble keeping up  he pukes his guts out number of times Odysseus is *** head not drinker he explores 42nd Street stumbles across strange exotic place named Peep Show World upstairs is large with many **** cubicles creepy dudes hanging around downstairs is astonishing there are many clusters of booths with live **** girls inside girls shout out hey boys come on now pick me come on boys there are hundreds of girls from all over the world in every conceivable size shape race he enters dark stall  puts fifty cents in coin box window screen lifts inside each cluster are 6 to 10 girls either parading or glued to a window for $1 he is allowed to caress kiss their ******* for $2 he is permitted to probe their ****** or *** for $10 girl reaches hand into darkened stall jerks him off tall slender British girl thrills him the most she says let me have another go at your dickey Odysseus spends all his money ******* 5 times departing he notices men from every walk of life passing through wall street stockbrokers executives rednecks mobsters frat boys tourists fat old bald guys smoking thick smelly cigars Toby Mantis has good-looking girlfriend named Lorraine with long brown hair Toby Lorraine and Odysseus sit around kitchen table Odysseus doodles with pencil on paper Toby spreads open Lorraine’s thighs exposing her ****** to Odysseus Lorraine blushes yet permits Toby to finger her Odysseus thinks she has the most beautiful ****** he has ever seen bulging pelvic bone brown distinctive bush symmetric lips Toby and Lorraine watch in amusement as Odysseus gazes intently Tony mischievously remarks you like looking at that ***** don’t you? Odysseus stares silently begins pencil drawing Lorraine’s ****** his eyes darting back and forth following day Lorraine seduces Odysseus while Toby is away walks out **** from shower she is few years older her body lean with high ******* she directs his hands mouth while she talks with someone on telephone it is strange yet quite exciting Odysseus is in awe of New York City every culture in the world intermingling democracy functioning in an uncontrollable managed breath millions of people in motion stories unraveling on every street 24 hour spectacle with no limits every conceivable variety of humanity ******* in same air Odysseus is bedazzled yet intimidated

Odysseus spends summer of 1970 at art colony in Cummington Massachusetts it is magical time extraordinary place many talented eccentric characters all kinds of happenings stage plays poetry readings community meals volleyball after dinner volleyball games are hilarious fun he lives alone in isolated studio amidst wild raspberries in woods shares toilet with field mouse no shower he reads Jerzy Kosinski’s “Painted Bird” then “Being There” then “Steps” attractive long haired girl named Pam visits community for weekend meets Odysseus they talk realize they were in first grade together at Harper amazing coincidence automatic ground for “we need to have *** because neither of us has seen each other since first grade” she inquires where do you sleep? Todd hitches up from Hartford to satisfy curiosity everyone sleeps around good-looking blue-eyed poet named Shannon Banks from South Boston tells Odysseus his ******* is not big enough for kind of ******* she wants but she will **** him off that’s fine with him 32 year old poet named Ellen Morrissey from Massachusetts reassures him ******* is fine Ellen is beginning to find her way out from suffocating marriage she has little daughter named Nina Ellen admires Odysseus’s free spirit sees both his possibilities and naïveté she realizes he has crippling family baggage he has no idea he is carrying thing about trauma is as it is occurring victim shrugs laughs to repel shock yet years later pain horror sink in turned-on with new ideas he returns to Hartford art school classes are fun yet confusing he strives to be best drawer most innovative competition sidetracks him Odysseus uses power drill to carve pumpkin on Halloween teachers warn him to stick to fundamentals too much creativity is suspect Todd and he are invited to holiday party Odysseus shows up with Ellen Morrissey driving in her father’s station wagon 2 exceptionally pretty girls flirt with him he is live wire they sneak upstairs he fingers both at same time while they laugh to each other one of the girls Laura invites him outside to do more he follows they walk through falling snow until they find hidden area near some trees Laura lies down lifts her skirt she spreads her legs dense ***** mound he is about to explore her there when Laura looks up sees figure with flashlight following their tracks in snow she warns it’s Bill my husband run for your life! Odysseus runs around long way back inside party grabs a beer pretending he has been there next to Ellen all night few minutes later he sees Laura and Bill return through front door Bill has dark mustache angry eyes Odysseus tells Ellen it is late maybe they should leave soon suddenly Bill walks up to him with beer in hand cracks bottle over his head glass and beer splatter Odysseus jumps up runs out to station wagon Ellen hurriedly follows snow coming down hard car is wedged among many guest vehicles he starts engine locks doors maneuvers vehicle back and forth trying to inch way out of spot Bill appears from party walks to his van disappears from out of darkness swirling snow Bill comes at them wielding large crowbar smashes car’s headlights taillights side mirrors windshield covered in broken glass Ellen ducks on floor beneath glove compartment sobs cries he’s going to **** us! we’re going to die! Odysseus steers station wagon free floors gas pedal drives on back country roads through furious snowstorm in dark of night no lights Odysseus contorts crouches forward in order to see through hole in shattered windshield Ellen sees headlights behind them coming up fast it is Bill in van Bill banging their bumper follows them all the way back to Hartford to Odysseus’s place they run inside call police Bill sits parked van outside across street as police arrive half hour later Bill pulls away next day Odysseus and Ellen drive to Boston to explain to Ellen’s dad what has happened to his station wagon Odysseus stays with Ellen in Brookline for several nights another holiday party she wants to take him along to meet her friends her social circles are older he thinks to challenge their values be outrageous paints face Ellen is horrified cries you can’t possibly do this to me these are my close friends what will they think? he defiantly answers my face is a mask who cares what i look like? man woman creature what does it matter? if your friends really want to know me they’ll need to look beyond the make-up tonight i am your sluttish girlfriend! sometimes Odysseus can be a thoughtless fool

Laura Rousseau Shane files for divorce from Bill she is exceptionally lovely models at art school she is of French descent her figure possessing exotic traits she stands like ballerina with thick pointed ******* copious ***** hair Odysseus is infatuated she frequently dances pursues him Laura says i had the opportunity to meet Bob Dylan once amazed Odysseus questions what did you do? she replies what could i possibly have in common with Bob Dylan? Laura teases Odysseus about being a preppy then lustfully gropes him grabs holds his ***** they devote many hours to ****** intimacy during ******* she routinely reaches her hand from under her buns grasps his testicles squeezing as he pumps he likes that Laura is quite eccentric fetishes over Odysseus she even thrills to pick zits on his back he is not sure if it is truly a desire of hers proof of earthiness or simply expression of mothering Laura has two daughters by Bill Odysseus is in over his head Laura tells Odysseus myth of Medea smitten with love for Jason Jason needs Medea’s help to find Golden Fleece Medea agrees with promise of marriage murders her brother arranges ****** of king who has deprived Jason his inheritance couple is forced into exile Medea bears Jason 2 sons then Jason falls in love with King Creon’s daughter deserts Medea is furious she makes shawl for King Creon’s daughter to wear at her wedding to Jason  shawl turns to flames killing bride Medea murders her own sons by Jason Odysseus goes along with story for a while but Laura wants husband Odysseus is merely scruffy boy with roving eyes Laura becomes galled by Odysseus leaves him for one of his roommates whom she marries then several years later divorces there is scene when Laura tells Odysseus she is dropping him for his roommate he is standing in living room of her house space is painted deep renaissance burgundy there are framed photographs on walls in one photo he is hugging Laura and her daughters under big oak tree in room Laura’s friend Bettina other girl he fingered first night he met Laura at party is watching with arms crossed he drops to floor curls body sobs i miss you so much Laura turns to Bettina remarks look at him men are such big babies he’s pitiful Bettina nods

following summer he works installing displays at G. Fox Department Store besides one woman gay men staff display department for as long as he can remember homosexuals have always been attracted to him this misconception is probably how he got job his tenor voice suggesting not entirely mature man instead more like tentative young boy this ambiguous manifestation sometimes also evidences gestures thoroughly misleading after sidestepping several ****** advances one of his co-workers bewilderingly remarks you really are straight manager staff are fussy chirpy catty group consequently certain he is not gay they discriminate against him stick him with break down clean up slop jobs at outdoor weekend rock concert in Constitution Plaza he meets 2 younger blond girls who consent to go back to his place mess around both girls are quite dazzling yet one is somewhat physically undeveloped they undress and model for Odysseus radio plays Roberta Flack’s “Killing Me Softly With His Song” both girls move to rhythm sing along he thinks to orchestrate direct decides instead to let them lead lies on bed while curvaceous girl rides his ******* slender girl sits on his face they switch all 3 alternate giggle laughter each girl reaches ****** on his stiffness later both assist with hands mouths his ****** is so intense it leaves him paralyzed for a moment

in fall he is cast as Claudius in production of Hamlet Odysseus rehearses diligently on nights o

The ground beneath the stiff leaves is frozen. The cold, brisk air invades my lungs, I exhale, my breath visible. I step over fallen branches and tugged by thorny vines. A red tail hawk screeches overhead, this is a sign of good luck. There is no path, no trail to mark our way, just an old, flat railroad bed surrounded by walls of shale, blown up for the path of the train so long ago. The only ties to remind of the rail are the rotting, moss covered ties that once were a part of a bridge that would have carried the train over a small creek between two steep hills. I see a fox burrow, and it's escape hatch is one of the hollowed railroad ties. I want to be a fox... The trek down this hill is not easy, thorny blackberry bushes and fallen trees impede progress. At the bottom, the small, bubbly creek is frozen at the edges, traveling under rocks and continuing its ancient path. I look up the hill that I just descended, and wonder how the return will go. Keep moving. The next hill will be easier, there are no thorny tangles, just treacherous leaf litter that will give under my feet if I don't find the right footing. The trick is to dig my boots into the ground as if I'm on steps. These hills are steep. Finally at the top, I look back at this little spring valley, I'm not that high up, but what view. Here, there is a dilapidated tree stand, falling apart from years of neglect and weather. Surrounded by deep leaf litter, there is a patch of rich dark earth, a buck has marked his spot, his round pellets are nearby. The saplings catch my hair as I walk by, and at these moments I am thankful for this cold snap that took care of the ticks. A creepy feeling takes over me, so thankful for this snap. A few feet further, as I watch where I am walking, another tussled bit of earth and I notice some interesting ****. It's furry and light grey; I poke it with my stick and find a small skull when I turn a piece over. Owl. I continue my walk, I didn't come here to play with poo. The last time I took this hike was three years ago, on a similar frigid day. It was a lot easier to make it through the shale valleys. Last summer, a wind storm felled trees and took out power for two weeks. The evidence of that derecho is clear here in this untouched forest. I remembered a tree, which now is a fallen giant, that had lost it's bark. The bark had separated and laid around this tree like a woman's skirt around her ankles. Now the tree lies with it's bark. I pass another tree I recognize whose branch extends out but zig zags up and down, as if it had three elbows. The tree signifies my next move, to descend from the flat railroad bed, down to a creek that flows through the tunnel that would have carried the train. The creek is considerably larger than the last creek I could step across. Descending towards the creek leads me over moss covered rocks and limbs, still bearing snow. Outside the tunnel, the hill walls are large stones, covered in a thick layer of moss, some of which has started to fall off due to heaviness. There's a sort of ice shelf in the creek, it's three layers thick and can support my one hundred and twenty pounds. Laying across the creek is another derecho-felled tree. Some sort of critter has crawled on this, using it to avoid the water below and as a short cut up the hill. His claw marks are covering the the limb, a few are more clear, it looks as if the creature almost slipped off. His claw marks show a desperate cling. I walk through the tunnel, in the mud and water; the creek echoes inside. I look above. There are drainage holes lining the ceiling, one is clogged by a giant icicle. I imagine the train that used to ride over this tunnel, I pretend to hear it and feel the rumbling. The last time we were here, we found cow skeletons. We placed a few heads on branches and one over the tunnel. We stuck a jaw, complete with herbivore teeth, into the mossy wall and a hip bone on a sapling. The hip bone reminded us of Predator's mask in the movie. All these bones are turning green. When I was here before, there was a bone half submerged in the creek; I had taken a picture of it but today, it isn't here. I'm sure it was washed away. After our exploration of the previous visit, we turned back. We are cold again, can't stay in one place too long. I climb through the deep leaf litter and over the rocks back to the railroad bed. Passing all the things I've already seen and spotting things I missed. I find two more fox burrows. They utilized the shale rock and burrowed underneath the jutting formations. Hidden coming from the south, the gaping openings seem welcoming from the north. My friends, the spelunkers and climber, want to descend into the darkness but I remind them, it is an hour to sundown, our trek is hard enough with overcast daylight. Wisdom prevails. We pass a tree, we didn't notice before, that was struck by lightening. The cedar tree was split in two and fell down the shale wall. I see the evidence of the burn and a smoldered residue at the base. Nature has a cruel way of recycling. The downed tree still has snow on it and the path of a raccoon is visible, I like the paws of *****. Though the way is flat, the walls of shale tower above us, limiting routes. At one point I can't see through the fallen trees I have to pass through. I have to crab walk under, crawl over, duck again and find my way around the thorny collections of bare black berry bushes. Finally into a clearing, still surrounded by sharp shale, there is another wall covered in inches of thick, healthy moss. I place my hand, taking time to stroke the furry wall. My hand leaves an imprint. I wonder how long that will last.. Back down the steep hill up and up the thorny tangle. I know I'm on the right path up, I see the fox's hole through the railroad tie, and his entrance burrow up the hill. Going down was definitely easier. The summit is literally overgrown with thorns, there is no clear path through. It is, again, impossible to see through the tangle of limbs and saplings and more thorns. Somehow we make it through. We are close to breaking off this path. We know this by the remains of a cow skeleton that more than likely fell from the top of the shale cliff. Femurs and ribs and jaws abound. On the last trip, we placed a hip bone in the "Y" of a sapling. The young tree has claimed it, growing around it. We add a piece of jaw to the tree's ornamentation and move on. We climb down from the railroad bed to our car - parked on the side of the road with a white towel in the window so that no one suspects a group of people walking through private property, past faded NO TRESPASSING signs.

When I undress for bed later, there are many small scratches up and down my legs from those ****** thorny vines. I'm okay with that, it's better than searching for ticks in my head.

Forth upon the Gitche Gumee,
On the shining Big-Sea-Water,
With his fishing-line of cedar,
Of the twisted bark of cedar,
Forth to catch the sturgeon Nahma,
Mishe-Nahma, King of Fishes,
In his birch canoe exulting
All alone went Hiawatha.

  Through the clear, transparent water
He could see the fishes swimming
Far down in the depths below him;
See the yellow perch, the Sahwa,

  Like a sunbeam in the water,
See the Shawgashee, the craw-fish,
Like a spider on the bottom,
On the white and sandy bottom.

  At the stern sat Hiawatha,
With his fishing-line of cedar;
In his plumes the breeze of morning
Played as in the hemlock branches;
On the bows, with tail erected,
Sat the squirrel, Adjidaumo;
In his fur the breeze of morning
Played as in the prairie grasses.

  On the white sand of the bottom
Lay the monster Mishe-Nahma,
Lay the sturgeon, King of Fishes;
Through his gills he breathed the water,
With his fins he fanned and winnowed,
With his tail he swept the sand-floor.

  There he lay in all his armor;
On each side a shield to guard him,
Plates of bone upon his forehead,
Down his sides and back and shoulders
Plates of bone with spines projecting!
Painted was he with his war-paints,
Stripes of yellow, red, and azure,
Spots of brown and spots of sable;
And he lay there on the bottom,
Fanning with his fins of purple,
As above him Hiawatha
In his birch canoe came sailing,
With his fishing-line of cedar.

  “Take my bait!” cried Hiawatha,
Down into the depths beneath him,
“Take my bait, O sturgeon, Nahma!
Come up from below the water,
Let us see which is the stronger!”
And he dropped his line of cedar
Through the clear, transparent water,
Waited vainly for an answer,
Long sat waiting for an answer,
And repeating loud and louder,
“Take my bait, O King of Fishes!”

  Quiet lay the sturgeon, Nahma,
Fanning slowly in the water,
Looking up at Hiawatha,
Listening to his call and clamor,
His unnecessary tumult,
Till he wearied of the shouting;
And he said to the Kenozha,
To the pike, the Maskenozha,
“Take the bait of this rude fellow,
Break the line of Hiawatha!”

  In his fingers Hiawatha
Felt the loose line **** and tighten;
As he drew it in, it tugged so
That the birch canoe stood endwise,
Like a birch log in the water,
With the squirrel, Adjidaumo,
Perched and frisking on the summit.

  Full of scorn was Hiawatha
When he saw the fish rise upward,
Saw the pike, the Maskenozha,
Coming nearer, nearer to him,
And he shouted through the water,
“Esa! esa! shame upon you!
You are but the pike, Kenozha,
You are not the fish I wanted,
You are not the King of Fishes!”

  Reeling downward to the bottom
Sank the pike in great confusion,
And the mighty sturgeon, Nahma,
Said to Ugudwash, the sun-fish,
To the bream, with scales of crimson,
“Take the bait of this great boaster,
Break the line of Hiawatha!”

  Slowly upward, wavering, gleaming,
Rose the Ugudwash, the sun-fish,
Seized the line of Hiawatha,
Swung with all his weight upon it,
Made a whirlpool in the water,
Whirled the birch canoe in circles,
Round and round in gurgling eddies,
Till the circles in the water
Reached the far-off sandy beaches,
Till the water-flags and rushes
Nodded on the distant margins.

  But when Hiawatha saw him
Slowly rising through the water,
Lifting up his disk refulgent,
Loud he shouted in derision,
“Esa! esa! shame upon you!
You are Ugudwash, the sun-fish,
You are not the fish I wanted,
You are not the King of Fishes!”

  Slowly downward, wavering, gleaming,
Sank the Ugudwash, the sun-fish,
And again the sturgeon, Nahma,
Heard the shout of Hiawatha,
Heard his challenge of defiance,
The unnecessary tumult,
Ringing far across the water.

  From the white sand of the bottom
Up he rose with angry gesture,
Quivering in each nerve and fibre,
Clashing all his plates of armor,
Gleaming bright with all his war-paint;
In his wrath he darted upward,
Flashing leaped into the sunshine,
Opened his great jaws, and swallowed
Both canoe and Hiawatha.

  Down into that darksome cavern
Plunged the headlong Hiawatha,
As a log on some black river,
Shoots and plunges down the rapids,
Found himself in utter darkness,
Groped about in helpless wonder,
Till he felt a great heart beating,
Throbbing in that utter darkness.

  And he smote it in his anger,
With his fist, the heart of Nahma,
Felt the mighty King of Fishes
Shudder through each nerve and fibre,
Heard the water gurgle round him
As he leaped and staggered through it,
Sick at heart, and faint and weary.

  Crosswise then did Hiawatha
Drag his birch-canoe for safety,
Lest from out the jaws of Nahma,
In the turmoil and confusion,
Forth he might be hurled and perish.
And the squirrel, Adjidaumo,
Frisked and chattered very gayly,
Toiled and tugged with Hiawatha
Till the labor was completed.

  Then said Hiawatha to him,
“O my little friend, the squirrel,
Bravely have you toiled to help me;
Take the thanks of Hiawatha,
And the name which now he gives you;
For hereafter and forever
Boys shall call you Adjidaumo,
Tail-in-air the boys shall call you!”

  And again the sturgeon, Nahma,
Gasped and quivered in the water,
Then was still, and drifted landward
Till he grated on the pebbles,
Till the listening Hiawatha
Heard him grate upon the margin,
Felt him strand upon the pebbles,
Knew that Nahma, King of Fishes,
Lay there dead upon the margin.

  Then he heard a clang and flapping,
As of many wings assembling,
Heard a screaming and confusion,
As of birds of prey contending,
Saw a gleam of light above him,
Shining through the ribs of Nahma,
Saw the glittering eyes of sea-gulls,
Of Kayoshk, the sea-gulls, peering,
Gazing at him through the opening,
Heard them saying to each other,
“’Tis our brother, Hiawatha!”

  And he shouted from below them,
Cried exulting from the caverns:
“O ye sea-gulls! O my brothers!
I have slain the sturgeon, Nahma;
Make the rifts a little larger,
With your claws the openings widen,
Set me free from this dark prison,
And henceforward and forever
Men shall speak of your achievements,
Calling you Kayoshk, the sea-gulls,
Yes, Kayoshk, the Noble Scratchers!”

  And the wild and clamorous sea-gulls
Toiled with beak and claws together,
Made the rifts and openings wider
In the mighty ribs of Nahma,
And from peril and from prison,
From the body of the sturgeon,
From the peril of the water,
They released my Hiawatha.

  He was standing near his wigwam,
On the margin of the water,
And he called to old Nokomis,
Called and beckoned to Nokomis,
Pointed to the sturgeon, Nahma,
Lying lifeless on the pebbles,
With the sea-gulls feeding on him.

  “I have slain the Mishe-Nahma,
Slain the King of Fishes!” said he;
“Look! the sea-gulls feed upon him,
Yes, my friends Kayoshk, the sea-gulls;
Drive them not away, Nokomis,
They have saved me from great peril
In the body of the sturgeon,
Wait until their meal is ended,
Till their craws are full with feasting,
Till they homeward fly, at sunset,
To their nests among the marshes;
Then bring all your pots and kettles,
And make oil for us in Winter.”

  And she waited till the sun set,
Till the pallid moon, the Night-sun,
Rose above the tranquil water,
Till Kayoshk, the sated sea-gulls,
From their banquet rose with clamor,
And across the fiery sunset
Winged their way to far-off islands,
To their nests among the rushes.

  To his sleep went Hiawatha,
And Nokomis to her labor,
Toiling patient in the moonlight,
Till the sun and moon changed places,
Till the sky was red with sunrise,
And Kayoshk, the hungry sea-gulls,
Came back from the reedy islands,
Clamorous for their morning banquet.

  Three whole days and nights alternate
Old Nokomis and the seagulls
Stripped the oily flesh of Nahma,
Till the waves washed through the rib-bones,
Till the sea-gulls came no longer,
And upon the sands lay nothing
But the skeleton of Nahma.

The vulnerability of baring myself fully
clenches the belly
panics the heart
stands my hairs on end.

It is truly the most terrifying thing
to stand in ones authenticity.

And yet. And yet.

The courage it takes.
The great tender strength.
The spine tingling elation.
The heart swells, and magic.
The naked beauty borne, in feeling you have nothing to hide.
The spirit touched ardor of a bare approach to life.
The openings and the mystery.
The expressions: tripping, falling, incomplete, misguided.
The wonderful mistakes, elucidating lessons.
The perfect imperfections.
The easing of honesty.
The engendered humility.
The profundity.
The sense of being touched, touching, and in touch with life.
The unmasked revelations, of full spectral undulation.
The this. The that. The I can accept it all.
The dropping of shame.
The incredible liberation, in shedding that shame.
The finding forgiveness for self, for other.
The quiver of unknowing.
The sweet caress of potential.
The dread. The sorrows. The uncertainties.
All making room for, in their acknowledgement:
Room for what else is there.
Room for laughter, and joy, and luminescence.
Room for flirtation, dancing, spontaneity.
Breaking open.
Melting into Love.
Soaring on the wings of Truth.
The hush, of anxious worry.
The Goodness bestowed.
The empathy.
The compassion.
The connection.
The holy restoration of creative flow.
The fires of real passion.

And everything.
And everything.
And Beauty.

So I told her
That I love her

And she told me
that she doesn't know
how she feels about it
but she does enjoy

our conversations
our talks late into the night
our small openings into
each others minds

and that was enough for me
to keep me
happy(?)

OPENINGS
( for Onelia )

The openings of famous novels
follow me around

for days on end

or just lounge around
waiting for me to say them.

The opening of MOBY ****
has gone for a ***.

The opening of A TALE OF TWO CITIES
has fallen asleep by the radiator.

The opening of PRIDE & PREJUDICE
is sipping a cup of Earl Grey tea.

“Call me Ishmael...Call me Ishmael! ”
pleads the opening of MOBY ****
returning from the loo.

“Have you washed your hands? ”
I ask it.

“It was the best of the worst of times...”
declaims the Dickens
confused upon awakening.

“Say me...say me! ”
they all clamour...crowding around me.

I just stare
at them in silence

wondering how
I got into this.

I survived high school by a small crack of glass.
I caught myself  by the pad of my finger tips, on the splintered pane,
after falling off the edge of a world of depression, anger, and pain,
and it was from there I pulled myself up, feeling more alive than I had in my entire life.
Because it was through hell that I walked, feet burning, for the diploma I earned on stage.
It was through spider webs I passed, scratching invisible clinging memories off,
to march tall and strong, toward the future I thought was nonexistent a month before.  
I survived high school by the non-working baby hairs on the back of my neck.
The ones that are supposed to stand up like frightened Halloween cats whenever dangers approaches,
and yet when my danger came calling, laid calm like the summer sun on your concrete drive way
and it's because of this I stand here today, looking into the eyes of your fresh faces, fearing that you too may be walking on coals.
It's because of this I want to pour the knowledge of my journeys into the openings of your skin,
let you soak up my mistakes so that maybe, just maybe, you won't have to make as many of your own.
For there are some mistakes that will never heal.
So when you reach for that bottle, hands hungrily searching for something impossible to find in Absolute *****,
remember that the only thing at the bottom of that bottle is blurred memories.
When your skin gets the itch only a blade can scratch,
stop, drop the blade, and coming running as fast as you can back into my words.
Hear me when I tell you that beneath your skin lies not an escape from this life, but only more of your alive, beating, self.
And as much as your eyes might need proof that you're alive, your chest is always right there below your head,
ready to let you feel the heart inside that makes you such a precious addition to this world.
Feel  it.
Let it's pounding remind you that dropping calories and skipping meals won't solve your problems.
That being skinny, as much of a temptation as it can be, isn't a goal worth losing the breath from your lungs.
Trust me, I know. And I know that heartbreak and loss and hurt are more than enough to make you want to tear apart the fabric of your life and create something new from the threads.
But please know that in end you'll only wind up tangled in the mess,
calling out for people that you've pushed so far away they can no longer hear you.
So instead of ripping through the darkness, know that you don't have to start from scratch,
but merely dye yourself, your life, a different color.
Know that everything you've been through and everything you've seen is building who you are, who you will be, and that slowly but surely you are becoming a work of art so unspeakably beautiful that nothing like you has ever been made or seen before and hold on to that.
Hold on to the idea that this world, and these people, they need you.  
They want nothing more than to see what you turn out to be. I know that's how I feel.
I look at every single one of you and choke up at the thought of how you will stand out as the purist work of art ever imaginable one day.
The kind of art that comes only from a lifetime of living and moving on and starting over.  Hold on to that.
When the world comes to your window with wind and rain, when it tries to drown you in your own tears, and break your spirit with your own emotions, know that you aren't facing the hurricane alone.
I am here, and I know.
I know that no matter what happens, there is enough fire left in you to keep going.
You just have to dig deep enough to smell the smoke.

Philosophically, Camus is known for his conception of the absurd. Perhaps we should clarify from the very beginning what the absurd is not. The absurd is not nihilism. For Camus the acceptance of the absurd does not lead to nihilism (according to Nietzsche nihilism denotes the state in which the highest values devalue themselves) or to inertia, but rather to their opposite: to action and participation. The notion of the absurd signifies the space which opens up between, on the one hand, man’s need for intelligibility and, on the other hand, 'the unreasonable silence of the world' as he beautifully puts it. In a world devoid of God, eternal truths or any other guiding principle, how could man bear the responsibility of a meaning-giving activity? The absurd man, like an astronaut looking at the earth from above, wonders whether a philosophical system, a religion or a political ideology is able to make the world respond to the questioning of man, or rather whether all human constructions are nothing but the excessive face-paint of a clown which is there to cover his sadness. This terrible suspicion haunts the absurd man. In one of the most memorable openings of a non-fictional book he states: “There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories – comes afterwards. These are games; one must first answer” (Camus 2000:11). The problem of suicide (a deeply personal problem) manifests the exigency of a meaning-giving response. Indeed for Camus a suicidal response to the problem of meaning would be the confirmation that the absurd has taken over man’s inner life. It would mean that man is not any more an animal going after answers, in accordance with some inner drive that leads him to act in order to endow the world with meaning. The suicide has become but a passive recipient of the muteness of the world. “...The absurd ... is simultaneously awareness and rejection of death” (Camus 2000:54). One has to be aware of death – because it is precisely the realization of man’s mortality that pushes someone to strive for answers – and one has ultimately to reject death – that is, reject suicide as well as the living death of inertia and inaction. At the end one has to keep the absurd alive, as Camus says. But what does it that mean?

In The Myth of Sisyphus Camus tells the story of the mythical Sisyphus who was condemned by the Gods to ceaselessly roll a rock to the top of a mountain and then have to let it fall back again of its own weight. “Sisyphus, proletarian of the gods, powerless and rebellious, knows the whole extent of his wretched condition: it is what he thinks of during his descent. The lucidity that was to constitute his torture at the same time crowns his victory. There is no fate that cannot be surmounted by scorn” (Camus 2000:109). One must imagine then Sisyphus victorious: fate and absurdity have been overcome by a joyful contempt. Scorn is the appropriate response in the face of the absurd; another name for this 'scorn' though would be artistic creation. When Camus says: “One does not discover the absurd without being tempted to write a manual of happiness” (Camus 2000:110) he writes about a moment of exhilarated madness, which is the moment of the genesis of the artistic work. Madness, but nevertheless profound – think of the function of the Fool in Shakespeare’s King Lear as the one who reveals to the king the most profound truths through play, mimicry and songs. Such madness can overcome the absurd without cancelling it altogether.

Poor stone. You’ve wrapped it, hidden its serene and uncomplicated self. I can no longer feel its smoothness, its emptiness embodied in touch. You have brought it in from the beautiful silence of its solitary state and covered it around: a net, a bag, a coverlet, a coating of thread through which we can only see something of itself.

There is a consistency here: in this doing, a reflective doing as much as conscious making. You’ve moved from the mending of damaged acorns, splintered leaves, forlorn detritus gathered off the sea strand to making tiny homes, shelters, enclosures, that sometimes have no perceivable openings; so some stones are wholly netted, completely wound and threaded around so there is no escape. But some, it needs to be said, are like the lasts of the cobbler, there to provide a form to hold the stone shoe firm, in place, and around which the woven thread in your hand can ply and knit . . . and then it is sometimes cast away, this last of stone, having only provided a stone shape; so only its shape-memory persists for the viewer. And when touched - this garment, this cloak of thread is pliable, and moves with the fingers’ touch and press.

I should like to capture this stone in the process of its enclosing; what seems to be from a viewer’s stance a not wholly planned journey with the needle - around and about, in and out and under. So I imagine a stop-motion sequence of photographs, beginning with the lonely undressed stone in your hand. As time lapses we watch the intricate play of your hand, your deft fingers, that particular pinching and holding to place the thread here and here and here, the pulling through, the special holding in place while one thread knits together with another thread by going underneath and up and along, and all the time the hand turning, the fingers dancing in the hand.

Then will come moments of rest where the stone moves from the hand to a still surface. It regains its shadow - and rests. The hand moves away and we are left with the silent stone, the journey of its dressing interrupted by life’s necessities. The maker’s hand moves to other tasks; the preparation of food, the writing of notes, the tapping of virtual symbols on the mobile phone (now there’s a surface that shares with the stone a hardness and smoothness – once we held stones for comfort in the pocket – now we stroke the mobile to remind us that we’re safe in the dark street, not ever alone, connected to our thousands of followers, admirers, friends, our loved ones, and that repository of what is and where to go, and the whole world of music and photographs - of woven stones).

Let’s go back to this stop-motion. To lift the stone from its precious private place, usually alone (no other stones around), index finger and thumb come together to lift our stone from its shadow – a shadow that disappears, magically, into the surrounding light. Oh surely no more, the stone cries in its shadowless voice. No more of this twisting turning, upside downing, the sense of the stone recalling a time beyond time when in a storm-laden sea one dark winter’s night it, and countless companions, were lifted from the sea bed and rolled round, around, round, and swept, afloat in a turmoil of waves that break and break and break until finally onto the sloping beach - where the stone is left – alone, motionless – at rest - to dry in the morning sun.

Gradually the movement in her fingers becomes slower, even sporadic. She is looking at this stone with her grey-blue eyes, intently. There are pauses; moments of reflection where our stone is set down and viewed, picked up again and moved into a different light (its shadow returns momentarily, fitfully, knowing perhaps any stasis is only temporary). The camera keeps clicking; stop, a 300th of second motion, stop for a second. Already there are thousands of images collected in the camera’s silicon memory chip.

And so movement gradually becomes stillness. The light changes. The camera’s incessant stop-motion ceases. The stone is placed on a white surface for a final photo-call – a single click. Once naked; now clothed. There is no longer the possibility of return to its original stoniness. It becomes an ‘object’ to place on a surface for wonder and admiration – not the stone of course but its clothing, its covering, its embodied shape in thread, perhaps that thread soaked in mud that in itself holds a distance memory of water, even water that has moved from sea to the coastal strip, the estuary, the river’s bank.

Later, after being wrapped in tissue paper, perhaps boxed, and moved into a total darkness, the stone is brought again into the light. It finds itself placed among other stones, stones and shells, rusty objects even, and laid out variously on a pristine white surface. Its stoniness is now shadowed with words: a description, a title, its ‘found’ location, a date of finding – a date of making. That this stone, once beached, and picked from the sand, from amongst so many other stones, and thought unique and carrying potential as a last, a shoe-maker’s frame, a steady 3-dimensional surface for wrapping, now becomes something more that a solitary stone. It has been given a new life, a life of an object imbued with the thread of a maker’s curious mind; that in so threading has come to know this stone so intimately, and with so much love and care that its clothing, whilst having no pre-formed pattern, becomes something in its maker’s eyes that seems  - meaningful, poetic, ‘right’?

Through this stone-weaving with thread, this stone-covering and describing in thread, you have made a poem of the nature of stoniness. Your fingers now know this stone, and perhaps, if we can in our imagination follow that partly accidental / partly planned journey, we can read your poem – of touch, of turning, of minute viewing, of so careful observation of every millimetre of its surface. Yes, perhaps that’s it, what this is all about . . . only our stone has had its wonderful serenity and solitariness, its smoothness and surface taken from us. It will no longer lie in the pocket to comfort the hand. It will no longer lie on the desk to be a tangible remembrance of a place and time, treasured.

                                                       ------

‘And now I remember a poem, portraying a stone, a pebble placed in a child’s hand, picked up on a pebble ridge. A pebble to place in the pocket where we finger it until it becomes warm. Its shape and certain¬ty is firm and sure. It consoles us. And, as we change and decay, it remains lodged with us: *a thing that contains nothing save the mystery of life.’

In the meantime in the Állos kósmos or Ultramundi, Wonthelimar after hearing the speeches and paragraphs of the speakers saw from paradise how Calypso Lepidoptera appeared, approaching in great magnitudes on the dry land on the banks of the blue and golden stones of Skalá. In torrents of rushing from the water-sky with wind-water, by geomorphological hydraulics of the collapse of the irresistible capacity to harass each other in the ears of Seleuco's dialogues, after they piled up in the sneaking curds of him on the island of his speech. Right there it settled from the koelum or sky of the Lepidoptera from the Orofí or ceiling, on the natural arches of aeolian erosion and its devastating plumage, appearing in the subaerial splendor of Chauvet and its gloomy darkness, changing the morphology of the bank of Skalá turned into enchanted turquoise light also with Calypso nuances. From here Wonthelimar obscures the circumflex arc or circumflexes, which pierced and eroded the surface, piling up the ex-generals of Alexander the Great, to skewer them on the stump that was languidly seen supporting them, after the tides of Lepidoptera that avalanche in destined per capita towards the destined underworld of Wonthelimar.

Wonthelimar was separated from everyone by the moat that was separated from the gods of the surface, but now where the supporters of Seleucus were predestined by imbibing themselves in the bilocated kingdom of Chauvet and its darkness, where they were put into agreements of suitability and clarity of words discursive for the eagerness to persuade his major general. But they all fell into the middle of a dark Ultraworld, judging themselves to be dying in stockpiles of biosystems where no one helped them and gave them some indication or diagnosis of being separated from the canopy that drained them from spectral affairs, speaking as vivid visions of benefits and sovereignties that escaped from themselves without contemplation or quietism of the human race, which procreates xenophobia to kings without throne or nation. Under the Attic, calendar were the months here were only eighth, Anthesterion, received them with the name directly of the main festival celebrated in this month, Anthesteria. In goods of name contests in the semester of Pyanepsia, Thargelia, and Skira where they were relatively significant, in some of the greatest celebrations in the life of a Polis, which is not recognized in the name of the month. Some sparkled in the sound of the Great Dionysia celebrated in Elaphebolion (ninth month), and the Panathenaia in which they are only indirectly recognized in Hekatombaion (month one), named after the hecatomb, of the sacrifice of "one hundred oxen" celebrated at night. End of the Panathenaia. This is where the suspicious fondness of both families of Seleucus and Alexander the Great differed in the accent that marks the written line of the infra Polis, where the leaders of Haides or Hades are lost, for the purposes of Aïdes, as not indivisible, but with the presence of Wonthelimar, who is invisible but epically static on his balustrade in all the rings that chorally wore them for each patronage of the diádocos generals, even so he had betrayed the Hellenic legacy, by a Hellenic-Orthodox one in the disappearance of Alexander the Great in Babylon without knowing that it had been rescued by Wonthelimar, surpassing the limits of the rings of stefánes ibix, or Aros de íbiz, as nano kvantikoí daktýlioi, quantum nano-ring that augured to sensitize the dermis of its carpal phalanges, from the eighth, Anthesterion to Elaphebolion (ninth month), minus the one hundred and twenty days of gestation in a month of the attic of imníbiz, that it was of wise advice to receive him in the new engend rivers of Wonthelimar in the depths and bundles of marrow with gestation forms of an Ibex goat, with their embedded bases of stalagmites, filing the meaning of each life that was lodged in the depths of the caves and its opacity. The Eygues of Valdaine was the Acheron, but with half the deceased who sat in rows and unleashed their laurels that possessed poor aids tormented by mandrake root hands.

The underworld was a swamp that covered the heels of the diádocos in the immense blackness of the cavern that wounded them one and the other with its Kopis, by more than a hundred blows and slashes that covered them with mud and moans in their buried half bodies. That they had been intruded from linear entrances to the underworld of Wonthelimar. In the thick musts of the quagmire where objects with ornaments of fear and cavalier materiality lay, such mangrove deserts satiated with gloomy fibromyalgia and amnesia, refiguring in the wandering bones, that sinned in lights and destinies that were adopted in the sub-world with incorporeal needs., more than the exhaustion that tore the skeletal muscle of each one behind the meager compromise openings, in the strong ligaments of the host Wonthelimar that took them at forced steps towards paradises where there will never be consciousness from a Theseus typology, but from a sub taxonomy - Verthian mythological, for purposes and among others that unleash it by propelling self-infernos that are not those born by a Macedonian force or Satrap into puny kings turned into a servile, mute and decayed.

It is necessary, that solitude of all the entrances from the abyss into which they fell, was titanic and of ultraphobic acquiescent inspiration, and in the acid gestures of search of Persephone or Aerse that in random gestures fled from their persecutors, like females who ended fleeing from themselves falling into the back room where the end of souls is never exceeded or Psyché re emigrating from the punishments of a satire or a static that resulted in a ghostly wandering, or in tendentious spinners that tribulated in belated bundles of repentance. From primitive times, subjugations have been longed for in kings who would never think of leaving their cracks and washing their hands behind the backs of others who stood by, leaving the courage to lose themselves in the perversity of a body deposited in the Tartars, having to give them their prehistoric debts and meadows of carpeted debts and caged rooms.

The generals commanded by Seleucus walked barefoot along with the stump that wounded them in seams for their plantar areas, and in extreme distress, they did not dare to ask mercy from the cave host who transported them through the deep pit of perpetuity, where the frigid bullet of angina of Wothelimar, filled them with memories that protected their survival. In unworthy caprice and watery *****,… it ran frivolously down their legs, even after each impulse to recover the flashes of estimating being scared of oneself, after finding dead fruits subsisted halfway, feeling voices from the origin of the abyss that I quoted them.

Etréstles says: "Mashiach allow me to enter this grave, I do not know if I should go to rescue them, because I know what will happen..., I only ask that if I enter with courage, help me to find the same light of the exit, with the same memory of not to waste arrests, and not to lose myself in my entrustment by those who I know will not return”

Behind some Sabine poplars, it is seen how the elytra of the Lepidoptera were opened for those who crossed from the darkness without the appearance of their fruitful eyes that tickled praises of surrender, and not of ibid in the ibid that surrounded them, as if they were violated that heal at the moment when their faces departed from the miracle of privacy, and from the solitude decreed of non-existent company, companionship calming any dogmatic symptoms and hypoxia that the glimpse of the Eygues and the Acheron left them, further behind in which Saint John the Apostle and Vernarth, Reader and Petrobus to bring Etréstles back.

Saint John the Apostle says: “Vernarth go for your brother,… he wants to protect the souls of Seleucus and his comrades, go soon because there is little left to fill them with darkness which will even besiege in their reasoning and anti homelands that will not be from the din of the campanile, out of tune with joy that runs on the graces of the gift that frees you from the worst virus by not being anti-viral… ”.

Vernarth replies: “Etréstles is the slogan of Erebus, perhaps of Bumodos…, I have to stop him for his profession, since the comrades of Seleuco will not return, the effigies of Wonthelimar have made them of his children in Ultramundi, and what is Solstice of the underworld, it is only a small Sun that fits in the buttonhole of the orthogonal slot that confines it”.

At that time Raeder paraded where he before they reached the omega of the gully pit, running swiftly over the eyelets of Wonthelimar, leaving both completely naked, to tear them away from the contrived spell and bring Etrestles back all the way together and running., but both stripped of lightness and acceleration escaped from the centripetal bodies. After the tortured walls of the pit, they no longer supported themselves in their Skotos or Erebo of Wothelimar in such a primordial deity of this theogonic and fantastic event in the bilocated cavern of Chauvet in Skalá. Here all the densities and units of physical genres, from above and below surrounded them in the thick sulfur atmosphere, Ananké in such a goddess of inevitability ran after all who tried to reverse the situation of the diádocos, for the purpose of consenting their paragraphs Hellenics and to save their lives, but the mother of the Moiras went behind Etréstles and Vernarth along with Rader and Petrobus who were basking in the glow of Persephone that imbued them as they stagnated drinking mead with the Canephores who followed him. From this cryptic moment or from the bombastic insignia of Crete, Kanti's trotting from his Cretan figure was felt united with the Lepidoptera Calypso, redeeming Demeter from her crying on the edge of some Bern olive trees, emptier now that the last gradients of the agonic and venous voices in the hilarious of some diádocos that were completely absorbed by the benevolent illusion of Wonthelimar, snowy in the harrowing tenuity of his gestures and of the great Iberian that took them towards the heights of the hillocks and towards the Ultramundi that It turned them into proles of the mountainous areas, and into super aquatic monsters with thousands of loose eyes in the arches of the generals bleating, which transposed ****** subjugations of primal deities, and philastics of phantasmagorical genres of Hellas that is plucked from the peritoneum of their stomachs, and that guttural eradicated them from the blue adrenaline of Apollo.

This odyssey dispelled the orthogonal lines of the poetic affliction of those who could see the sunset and the Spyché ***** that antagonized Ananké's numinous efforts to extubate them, and perhaps exile them to the Theban plains to graze Achaeans of the first degree alongside Shamash. Lamenting of young afternoons and of the abysmal with beautiful hair of the generous of effects, swampy and of feverish Hadesian or Hade's rounds that crippled their districts, they emanated from some Marie Curie junk and vapors radiating this Parapsychological Quantum to them from their own holy final body., for a virtuous and rout of the Ultramundis of Wonthelimar.

OPENINGS
( for Onelia )

The openings of famous novels
follow me around

for days on end

or just lounge around
waiting for me to say them.

The opening of MOBY ****
has gone for a ***.

The opening of A TALE OF TWO CITIES
has fallen asleep by the radiator.

The opening of PRIDE & PREJUDICE
is sipping a cup of Earl Grey tea.

“Call me Ishmael...Call me Ishmael! ”
pleads the opening of MOBY ****
returning from the loo.

“Have you washed your hands? ”
I ask it.

“It was the best of the worst of times...”
declaims the Dickens
confused upon awakening.

“Say me...say me! ”
they all clamour...crowding around me.

I just stare
at them in silence

wondering how
I got into this.

Sometimes
         I feel a well
                   dug deep
         into my heart
  I try to stop it
but it quickly
becomes ocean
  and overflows  
     into great tsunami
          rises over all the levees
             rushes past dams                  
               breaks down tall
                   city structures,
              edifices crumbling
           in its path
     all the squid and octopi
    skitting forth
in wild pulses,
tentacles entangled
     in doorways and rooves
        slipping through narrow
                window-openings
                   as they pour ink
                       in clouds,
                         shifting shapes
                          in cephalopod excitement
                            while blue whales
                            and humpbacks
                               breach over bridges,
                             phosphorescent jellies
                          light up
                       the dark streets of
                      my arteries
                     electric eels illuminate
                    the alleyways of
                   desolation's thick syrup
                     and I cannot stop it even
                            if I wanted to,
                   these darkened,
                     swirling waves
I am both floating and flying
like a jumping manta ray
curling around the ferries
bobbing in seahorse iridescence
weaving between buses
as if they were corals

And when the storm subsides,
colorful rockpools form,
rich in diversity
It is there,
in between the
multicolored ***** and
succulent shellfish,
in a mermaid's
       voluptuous smile
and turquoise eye
that I see you,
so crystal clear
                I could reach out              
                      and bring you to me,          
                         holding you tight
                         until the
                gentle break
     of
          morning

For years
the square inner courtyard,
surrounded by sky-reaching apartment complexes,
accessible only through brief

openings

between the buildings
whose windows looked down
soullessly upon our child's play,
contained my entire world,

and I did not perceive any difference
in the hands, faces, and seasonal limbs
of my friends--

But when I returned
the openings had closed,

the courtyard inaccessible
to an unrecognizable Cincinnati child
whose white face and green eyes
brought only memories--
1884, 1929, 1944, 1967,

and angry April showers
that drowned disapproving windows
in curfews of 2001.

And I do understand.

But,

Would the windows open if they knew
there's black in my line,
way back in my line,
from a time when ships like the Delta Queen--

sailed the Middle Passage
monikered in false virtue
granted by titles like Henrietta Marie--
brought African queens instead of slot machines--

when the fields of mud ran with blood
hemorrhaged from Makhulu's
innocence forcibly stolen
by Grampa's lust.

Now I must window
watch my own daughter,
recalling the lesson
on the names of the week:

You know daddy,
someone just made those names up.

And I can see
beyond her blonde pig-tails--
the darkness of her eyes
recalls the act of shame--

coupled with the sharp wit
of a chained matriarch standing proudly
on the auction block declaring:

These waterways are all connected.

Inside the bunny suit
my ears are still small
and round, and percussive
sounds come to visit me
costumed in white muffles.

Inside the bunny suit
a bead of sweat itches
my nose to rabbit fidget
and wiggle-twitch where
my fingers can’t reach it.

Inside the bunny suit
a thin layer of nylon dots
inserts its silky self
between me and everything
I fumble to touch.

Inside the bunny suit
the outside world’s broken
up by a half-dozen holes,
and green strands fuzz the focus
of each fragmented peep.

Inside the bunny suit
probing orange lights
make kaleidoscope shapes
through those same cut
openings. They distract me.

Inside the bunny suit
I can smile at and feel
closer to the fantastic
creatures who surround me
in their own decorous skins.

.
Lovers entered a forbidden forest bower,
And as they stalked that range, with eyes glazed,
She offered up her hind. Now, with doe eyes,
Deep as his, deep in arousal's sleep, heels fell,
As he knocked and pulled her dark honey hair
And whispered, surrender, into wanting ears,
Softly he drove his hunting command, homing
To his huntress.

Her body braced, yet bade, with heat and vibrance.
Ruthlessly, he ****** his arrow deeper and then
Once more and then again.  She bucked fiercely
And defiant, goading his prodding lance ever more
Ever longer, and parting the pink lines of her white
Rose, he was, and once again, Prince to the dark
Dominion of her quarters.

In the middle of this carnal match they paused.
And looking into the forest beyond they saw
A yearling fawn, a feral Goddess, grazing still,
Bathing in a vale, virginal, wholly unmoved
By their act of venery, lustfully playing, in the innocent
Leaves.  It was as if they were among her kin, a gentle
Doe and a noble stag. From that moment on
The human hunters did not speak.

Falling, again, rolling eyes were deep in arousal's sleep.
Her back was a crescent moon pocked and wet with dew.
He could feel her heart beating in time with his piercing
Prong, her arching back glistened in the suns spittle
As it broke through the dark and vernal ceiling wood.

In the final shot her quivering buck lowered and broke
And a sound not heard, made a scene, a sweet murmuring
Shuddered and sank onto the floor of the forest leaves
With her tale, taken and told, her breathless breath,
Her nostrils cold and her heated and lanced openings
Dripping, draining; here was a New World’s beginning.

Sated, solemn and softly quaking, his woman sweetly laid,
And now, doomed with her doe eyes, two lovers, fated, made;
She glowed, divine, like the rolling brook that mellowed
Slow, in the vine-dark and golden forest stable,
In Artemis’s wood.
.

I

A Genesis! The Exodus, the Exodus!
A departure from all terrestiality
Always immoral and depraved, bathed in filth, in self-loathing
Abattoir of our souls, it entrenches us

Also, we too must be of the same make
And bear with our corpses the same proceedings, the same caliber
Allowed to their subversive candor,
All that broke the Carthaginians upon their own passage
Across the peninsular pathways

S'il in our conquest we find, however, that the pachyderms have run aground,
Vous must aggregate our conscious thought
Plaitcate the ravenousness within the heart of victory.

II

Bring victory, the winged harbinger of the conquest,
Beg for tyrannical proclamations: the end of man, the end of men,
By now, the greater of the concepts is lost to its own devices, devices,
Belching out smoke, that bend the corpses upon their backs.
By wrenching from their life a sense of purpose,
Byproductively, they feed heroic romanticisms of combat.

Brought yet upon these fields, there lies no stranger enemy
But that of the tide
Being self-effacing, masochistic,
Belittling, She breaks herself upon the shore, ravaging the bodies of
Both, Playing as ******* and as subservient

III

Come! Wave upon Wave upon Frothing
Crest, to shores of golden enfrenzied ******
Calmed by the liquid of our ***** *****
Charging forth as we
Charge forth armies upon the field of slaughter
Callously, for you, our gilded monarch
Can you see? They cannot see, and we hope to elucidate your presence, they
Cannot comprehend or fathom what they
Cannot see.

IV

Ceaseless now the charges
Come further upon the front
Crashing 'gainst the openings of each
Clangor and madness
Coalesce to form death

Dripping anew with sanguine libations
Drawn fresh from naked lambs, freshly cut for their country
Dionysian warriors return,
Desire forming their mental undulations

Effortlessly they overtake their feminine fortunes
Effacing their identities, removing from them with their clothing, the
Entirety of their selves.

V

From carnal conquest they rejoice,
Flaunting the destruction they wrought
Flinging husks of women about the room,
Foisting these shells on other patriarchs

Given no choice, they return to fields of battle
Godspeed, gods' will, and god-granted
Gaian soil is retreaded by their sodden flesh.

VI

Hellish, infernal is their presence
Having lost no measure to revelry or rest, neither
Halting nor slowed, the march quickens in time with their lustful bellows
Hastened to madness by infinity
Harkened back to prisons of mental anguish by their creators
How proud they are, the Old Gods,
Hacking away the pounds of flesh to reveal the
Haphazard construction to their instruments of torture.

VII

Into the bloodshed, into the fiery cavernous opening of the crusade
Ignited by righteous scraps of cloth and metal
Ignobly formed into crudely significant, textured shapes
Iconoclasts to their own ideals
Idyllic in their self-mockery.

Jabbering like hellbeasts, the warriors drive into the flesh of the conflict
Jettisoning armaments in the process, their
Joie de vivre having been lessened by mechanical limits.
Jocular slaughter synthesized with demonic cries.

Kapellmeisters to the symphony of death,
Keeping in the rhythm of mutilation, counterpoints of steel clashing against breastplates, giving shape to a
Kleptocracy of life.

VIII

Languishing now in the refuse of the struggle,
Laden with corpses, the warriors remain restrained by fatigue
Lurching through the mud, calling out feebly with voices
Long since bellowed to pulpy masses of throat tissue.

Masses of flesh crawling across the fields of strife,
Macerated ground, weak and shifting, struggles to support the
Multitude of half-corpses now in eternal respite upon the bloodied pasture.

IX

Now broken with regret and shame they collapse
Nestled into the marrow of the fallow earth,
Needing only rest in the cooling tendrils of dirt and blood that trickle across them.
Né de nouveau, their trek leads them towards the grave
Necrosis having taken hold in their limbs,
Nascent corpses, they subside with grave finality into a dead collective.

X

Opaque irises await those who uncover the un-burial mound
Oafish sockets containing them like marbles
Open to the elements, decaying with their corporeal encasement, shaded by
Oaken leaves that remain unfallen, while
Obsequious maggots go about their task of cleansing the remains

Paralyzed in the final moments of their mortal coil, the bodies lay stagnant,
Pacified only by the removal of sentience.
Pagan rituals surround such corpses, and the intrepid discovers
Patiently await the arrival of some necromantic spirit.

Quasi-instinctively, the pioneers of the superterranean mausoleum
Quell their fears and remove the bodies from their conclusive locale,
Quantifying their deaths by the armaments and metal carapaces upon them.

XI

Reeling across the path, weighted by the bodies,
Returning, the archaeological presence brings a pall over society, which
Remained reticent despite the presence of such suffocating solemnity
Repressed by its own intent

Solitude is given no quarter, and the bodies
Strung up like scattered marionettes
Silently serenade the town with a deafening cacophony.

XII

To Hell their souls desperately charge, frothing about the shackles of undeath
Torn from corporeal existence, yet unable to
Transgress the mortal plane
Torturous paradox!
Torment the fallen of Carthage's vestigal might no more
Traducer of the human condition
Tragedy is loosed at thy whim
Try not the patience of demi-gods of wrath and bloodshed.

XIII

Undulating by the beckoning of the wind,
Un-beautiful, un-ironed, the shrouds of the coffins
Under grey sky hang softly like leaden sheets
Unaware of the gravity beneath the few inches of oak
Un-aesthetically masking the dead warriors' forms

Visceral is the movement of the procession,
Vermicular, they wind a course to the peak of the foothill
Vehemently the priest urges them onwards, although he is
Visibly ill on this occasion of the anti-hero.

Warlike, the battle up the ***** claims the lives of those already claimed
Wastrels left to rot in the carcass of a long-dead conflict,
Wanting nothing more than solace eternal.

XIV

Xenophobes of the Inferno fear the inevitable presence of these
Xoana, false representations of humanity.
Xanthic is their fear, for inside the malebolges themselves
Xanadu is sought for those of the fallen soldiery.

Yet funerary proceedings dictate descent for these souls, and the coffins
Yaw slightly in the wind, disturbed by the
Yanks of the ****** rabble who bear their weight.

XV

Zeus himself presides over the ferrying of these souls,
Zion awaits them, their final collective fate at hand,

Yet slowly it turns its back upon them,
Xenophanes mocks from his post,
Wailing, they fall
Velocity increasing infinitely,
Until they see no more the lustrous light
Trapped eternally in dark
Stabbed with betrayal and fear, their souls
Run amok, fleeing from the source of their anguish
Questioning existence.
Periodically in the abyss, the helpless aggregate conscious is
Overwhelmed with memory of Paradise
Now to them denied for eternity.
Mephisto remains, their only companion,
Leeching from them the final vestiges of hope now left within, once
Kept hidden to protect the warriors, now
Jabbed and pummeled to death.
In this state of perpetual umbra
Heaven so distant, now only faded, as if on parchment,
Gained by the souls is a sense of locality, once
Forgotten but now reattained, and
En masse, the group instantly
Derives that they have returned from beyond the mortal plane, the terra once again
Collates beneath their soles, and the collective decides they must return
Before the open sun, to bear themselves
Against the gods, against sanctity itself, and thus they cry:

On the cobbled stone streets you lead me,
as I walked with disbelief.,
on how beautiful this world I am seeing
its your world, that's where I've been.

Raised our voices, made our point,
cursed in my sleep, I felt alone
you were suddenly someone I despise
until you changed your mood and made it right.

Time passed by, some would say too short
but I found out about all sorts
of your craziness, I argue with my mind,
I slept unhappy I even cried.

I already saw that something in your eyes,
Something's unstable but I said " well, I should try"
I saw how you don't let small things pass
sometimes you're happy sometimes you're mad.


then you stepped into my floody world,
***** streets with sewer openings uncovered.
Yes you did walked those streets with pure disgust,
so opposite of the world you have.

there were times when I felt we're far apart
when spending time together was a job.
your standards reaching past the treshold of all standards
I should try to understand that you're a prince in a pauper disguise.

Though hard I still wanted to see
if you'll stay or  run away from me.
I know its hard for you but you tried
I am so happy that you  tried.

your patience lost, my soul is hungry
was it supposed to be like this?
these little crumbles feeds my uncertainty,
I beg you please stay high with me.

something has to give
and its you who can give it
take blame where blame is not yours
give up something to make room for something else
openings for touches of eternity are shared this way.

heart dormant
riding  
forest green
inspiring;
soul seeking
openings
in vain
searching
spaces hollow
ridden  disdain;
light fading
belief remains
wishing prevalent
keep on
discovering
well of tame
delight
dreaming
hoping
tomorrow invite
new  insight.

Did you know the East Indian Bottle Masala includes as many as 27 spices, or that an oil-free pickle served at their weddings is actually known as Wedding Pickle?

These and many such authentic East Indian masalas and pickles are available at East Indian Cozinha (Portuguese for kitchen), a food store started by Christina Kinny at Kolovery Village in Kalina, Santacruz. "I started East Indian Cozinha with an attempt to preserve and highlight our cuisine and culture," says the 24-year old, who has studied Masters in Social Work and currently, works with an enterprise that helps tribal farmers.

What’s in store?

Going back 500 years, the East Indian cuisine enjoys influences from Portuguese, British and Maharashtrian fare. The staples include rice, coconut, tamarind, fish and meats, with spices forming an integral part of the cuisine. For instance, Prawn Atola is a dry dish comprising prawns coated only with Vindaloo Masala featuring Kashmiri chilli, cumin and turmeric. "Most people from our community were farmers and would be out on field all day. So, the masalas and lemon would help preserve their food for a longer time," reasons Kinny.

At present, the store stocks six varieties of masala in 100g bottles (R150 onwards). These include Khuddi or Bottle Masala, Chinchoni (fish) Masala, Vindaloo Masala, Roast Rub, Kujit Masala and Tem Che Rose. She also offers Wedding Pickle, an oil-free variety prepared with raw papaya, carrots and dry dates. "All the recipes have been passed on from generations and are homemade," she informs.

However, making the masalas is no cakewalk. "It takes three days to dry spices under the sun. Then, we hand pound them and pack them tightly in bottles with wider openings," says Kinny. She recalls that in her grandmother’s time, the masalas were tightly stuffed in beer bottles. The bottles were darker, and hence, helped preserve the masala for at least a year, at room temperature.

Lugra love

East Indian Cozinha also stocks traditional 10-yard saris known as lugras. These are hand embroidered by Kinny’s mother, Carol. Previously made only from cotton with authentic gold borders, now, lugras are embroidered with sequins and threads. "She has been in the garment industry for the last 30 years. She also makes traditional accessories like kapotas (earrings), karis (hair pins), anklets, etc," informs Kinny.

read more:www.marieaustralia.com/formal-dresses

www.marieaustralia.com/short-formal-dresses

Silk blocks my ability to see
Soft pads circle my ears shutting me into silence
Music begins to flow coursing through my body
Jumping as hands grasp slender ankles
Fur circles one then the other
Turned around and around so disoriented
A hard bump knocks at the back of my knees
Buckling and graze the chilled feeling they land upon
Gasps escape parted lips
Melodic music seems to beat forcefully with each movement
Chills flow through naked flesh

A voice reverbs in my ears
"Are you nervous ****?"
"Y-y-eees" trembles out thinking it had to have sounded like some little girl instead of the mature woman kneeling here
Morose tones begin to play
Calloused palms greet soft ones
Pulling quick and efficient succulent flesh lays across
a thick padded cushion

The drums beat frantically, I realize it is my heart beat
No music playing last the time, my breathing comes through rushed paniced
Inhaling deeply filling lungs then blowing out forcefully
Soothing frazzled nerves, repeating the breath
Hands separate, one wrapped in something unsure what
then the other, they are pulled straight out
Allowing ample globes of blush coated tips to reveal to any that watch

Crying out at the forceful pulling,  rearranging of limbs
Thoughts run rampant scrambling calm with slight fear and confusion
Body jerks as the apparatus moves beneath my spread flesh
I feel my belly tight as muscles **** and pull tight and repeats
Crying out as booming dark music explodes in my mind
The movement jerking beneath again
Unable to fathom how I look I feel a breeze slither over pale half moons
Finger run along the inside of the restraint as something pulls it further away from the other, then repeated
Chill air hits my heated moist ***** sending goosebumps all over

My body fully supported arms up with back arched exposing glorious flesh
Legs parted wide as waist is supported by the bench
"Who do you belong to"? He asks.
" No Ones"
A slice of fire then a second close by erupts pain across the backside
Teeth sink deep into my lower lip as the same words come through the headset
Senses impaired heighten every syllable
Still ******* air from the first blows as four reign down upon my  
arched back, tasting blood as teeth cut through plump skin

Thick fingers grasp the hairs upon nether lips yanking
Digits knead the skin of my *** soothing the first marks
Feeling the tug on hairs again, squirming as the moisture flows the cavern, body begins to move
Yet again "Who do you belong to?"
"Myself" I say proudly
Again heat, white hot, kisses thee skin
One, two, three, four, five
Labored breathing panics me
Fingers grtip and knead the marks, it is not pleasurable but it hurts not either

Thin pieces dance across my body
I figured out it had to be as flogger
He was an expert, especially with this contraption leaving everything but my stomach bottom of thighs urtterly exposed to the wicked implement
The tongues begin touching all over as I strain to hear and see
Nothing but blackness and morrocan drums playing tribal beats
Lightly stroking, followed by searing bolts of lightening touch silk flesh,
Breathing raggedly, gasping for air, pressure building in the pit of my stomach

As the flogger hits every piece of exposed white
Fingers massage puffy lips that swell to protect the golden pearl
Not hearing him he chuckles knowing he has me
Thump goes the flogger, chains clank as I squirm
Pressing towards his hand wanting to be touched that special way
Pleading escapes, I cringe knowing I have made that mistake
Something slides into my throbbing center, stretching my walls
I know I am soaked as I feel pinches against flogged streaked skin
"Please" I cry
Again he asks "Who do you belong to?"
I form the y sound suddenly changing to once again "Myself"

The implement is left inside my love tunnel
Vaginal walls gripping and releasing
My breath catches hard in my throat as something cool
bites hardened peak,
Breath let's out with a loud moan as the other peak is trapped in the vice grip
Hair is cinched tight pulling the upper body up more
The clamps bite harder
He turned my head towards his as lips touch I feel an excruciating heat soar through my succulent peaks
Tears flow across cheeks gliding down until we both taster the salt

His teeth sink into my lip as the hand twists the chasing, the other the chain to the clips torturing my *******
My velvet reaches out to run across the teeth
He releases the bite as our tongues clash like symbols
***** throbs as it struggles to not drop the object
Pressure still building, traitor body plays to his tune
Rejecting nothing
Balking not at all
Wanting, needing, yearning for this
Our tongues dance as he pulls and releases that murderous pleasure wreaking havoc over the numbing rosebuds
Fiery locks are released
Fingers remove the implement deeply embedded in my sweet honey
Digits slide deeply into my well
Pushing against them yearning for deeper

I feel the pumping in and out
Each ****** grows harder and goes deeper
My hair being used as an anchor
Burning the scalp as it pulls
He must be able to hear the music as each move is punctuated with the caressing noise
The headphones are removed relief flows over as I can hear

He whispers "Who do you belong to?"  He asks again
I feel his fingers pull out causing a sense of loss
Something presses sat my entrance pushing lightly
Trying to glide over the honey
Lifting on tip toes pushing back
Feeling the thick mushroom push into their tight entrance
Gasping for air as he growls loudly trying to fight plundering
Needing my answer first
The tip teasing me without mercy
Pulls and releases my hair

I feel something strange being smeared in my thick juice
The warm presses against my clenched puckered hole
Crying out as he teases both orifices
My body strains tight like a bow drawn for firing
"Please oh please **** me, take me"  
I feel both openings being pushed against more
Knowing he won't do much more unless I give in
He pushes the egg deep into my tight ***
Cries of pleasure float over the music still playing in the room
His hard length still teasing the slippery tunnel
Leaning over pressing my body hard against the contraption
Growling out "Who do you belong to?"
You! You! You!
His **** rams home plundering my overly taut well
Buried to the hilt my cries louder than the night

He begins to move in Ernest
Taking and consuming His
My body being played like a well oiled machine
Slamming into me, our bodies slapping
Skin to skin
Pressure building faster as I was already close to exploding
He knows I am close
Salt from the sweat drips into my mouth
His hand yanks the egg from my *** starting the spasms
Rippling over his rock hard length
His growl rumbles within vibrating upon my back

Pace grows faster, frenzied
I feel juices dripping down my thigh
My love tunnel overflowing with essence
Crying in frustration I scream harder
The machine moves as he pumps in and out
Loud moans flow out as the movement let's him go deeper

The music is crescendoing cannons errupt
As he plunders the chain is suddenly ****** based
A reaction like dominmos begins
Hips buck against his as sdpasms caress his ****
Floods of honey burst free coating his implement
Flowing down my thighs as the explosion rocks through my body
Riding every ****** as his teeth sink into my neck
The shooting **** hits my wall spewing until empty
Laying against my body, his sweat mixing with mine

Both breathless and satiated for a spell
Blindfold and restraints removed
Lifting me up as my legs give out like they were jello
Cradling my head to his chest
He lays me upon silk
Eyes close as lethargy begins to settle
Soothing ointment is rubbed into red stripes
"Sleep Mine". He whispered
" Yes Master" she says sleepily

A smile crosses his rugged features
Finally he had pushed past that wall
She is Mine he thinks
I won't let her forget, took way to long for her to admit
Next time perhaps he would try a cane
Moving her on through
The joys of pleasure and pain

In the morning the mist arises
but some will say it is
yesterday's hubris.
I dont have an attic
to wayleigh communications
or require windows
to twitch gingham curtains
so the deep chill
void remains.

A debutante passed by my uncut grass
but she was no better served,
a dream interview with ******* Club
turned sour, this time of year.
At least she hasn't endless dealership openings
or humoured the word "exhilarating" in interviews
when inventing a rich Stepfather.
Like me there be few visitors.
Thirty  stubborn years will pass
but at least she know the meaning.
The pride of the morning.

The urge to do nothing is overwhelming,
compelling.

I am motionless
I find myself halted.
Based upon a worry
a waiting
dominated by uncertainty.
​
I cannot go on
I stretch the mind
wander
wonder of antidotes
remedies delicious
in the knowledge
of their reduced life
span.
But not a cure.

Openings brighten despite me,
the ephemera of the street untouched,
lilting on its arbor
in its impetuous parade.

​(I think)
I should not allow myself this dysania
in the spaces between moments,
lapses into stillness unforeseen.

In the warm response of wire
I ask for forgiveness.
Trapped in my own gaze,
it’s all I have.
(the purity of sorrow)
The floor pushes me skyward,

I run my finger’s tip around the edge of the afternoon,
Hope to god it rings out in response.

My backyard fence was probably the most traversed place in my whole yard. To get to the fence, I had to squeeze through a narrow gap between a sharp evergreen and a pungent forsythia bush. As a child, this fence seemed like a great wall with an unknown force drawing me to the other side.
        Before my parents allowed me to climb over  my fence, I would sit under the yellow canopy of drooping forsythia branches and enjoy the sweet smelling flowers. I’d gaze through the chain link and imagine what great adventures I could have with the neighbor kids, if I could go over that fence. After school, both my neighbor and I would run home to our backyards to talk and pass sticks through the fence. To pass the time, we would spend hours trying to disentangle grape vines from the fence, stopping to snack on a few when they were ripe. We would weave crowns with the broken vines or wilted branches from the forsythia, and we would craft swords from fallen branches out of their maple tree. With these effects, we would wage grand battles through the fence until we were separated by the call for dinner. When I found a baseball in the school field, I could not wait to take it home to share with my neighbor. Together we wore the skin off that baseball playing catch, seeing who could throw it the highest or farthest, and trying to throw it through the diamonds between each link. The fence drew us together.
        My parents finally gave in to my ample requests and decided that I was officially "old enough to climb the fence." I rushed out of my house and darted between the evergreen and forsythia to tell my friend the great news. After getting consent from his parents, I clambered up the fence for the first time. The first time was a struggle. It was hard to get foot holds in the small openings. It seemed dizzyingly tall. Although it was one small step, I was thrilled when I set foot in the foreign land because I would finally be able to explore what I had observed through the fence and dreamed about for so long.
        His yard was full of wonders that mine did not have. He had a play set with two swings and a slide, a large plastic log cabin play house, and a deck, which was a novelty compared to the concrete slab my house had. I quickly looked past these things; why would I waste my time on a swing when I could run around and play games without a fence impeding me. When we played baseball, the section of the fence where our yards met was always home plate. At school all my other friends only talked about video games and television shows.  I tried the video games they talked about, but when I tried them I never understood the thrill of sitting on a couch and controlling an image. Being outside under my forsythia bush or running around with my neighbor appealed to me. It was where I felt the most natural and where I felt I could be myself.
        That section of fence behind the forsythia bush and evergreen tree impacts me still, even though I have moved away and have not laid eyes upon those yellow flowers in years. Whenever I am presented the option between watching a movie or going outside to walk or play catch, I will always opt for the latter. Something about a light breeze or a rustle of leaves or the song of a bird as it flies over helps relax me and ease away the day's tensions. I attribute this to the freedom I felt under the forsythia. Free from judging eyes, free from problems of the world, free from expectations.

She is spontaneous poetry, no need to be written,
a dam burst of emotions subtle,on what I float along,
a whirlwind at an unpredictable time of the season
looking for an intimate space to churn and churn and churn.

By now, I know this without her even hinting,
all her dark clouds will rain in torrents nonstop
in to my landscape, sultry, broad and tranquil
I am an open sky, a stage ready for changing realities
a cloudless calm now in meditative expansiveness,
ready to change from dark, cloudy turgidity
to it's contrast, white feathery fluff that's dreamy.

This time round, when she visited,she did lie naked
on my bed supine, looking at me wistfully for a while
in my mind's sky beams of morning sun criss- crossed
all the nine openings of my body tightly shut, I sat meditating.

But I felt her chaotic presence in the energy field spreading,
she hurriedly removed her clothes one by one,smiling
in the buff she alights on my lap,a butterfly on a flower was her,
by and by a sweet heaviness enveloped my *****, in union with hers

I hear the primordial boom of the big bang, refining as an "Om"
travelling sans any medium it goes outwards to expanding universe.
to the 1"Chidakasha" where everything begins and go beyond.

Her storm energy, Tantric, seeks alleviation of existential pain,
I hear my glowing inner eye whispering in  light to the far galaxies,
In one form she is so much, past present and future converged,
She is 2"Mahatripurasundari", great enchantress of the three worlds.
Shakthi, the feminine energy that moves earth, heaven and hell,
Kali, the dark energy, seeking sublimation through catharsis.

On me she moves like a tortoise deliberately,my nervous system reads,
She would defeat the hare and win the laurel, in yogic, trance I discern.

I feel as if there is no end to this life
I know there may be many choices
Openings, endings
But I am stuck wondering which one is for me

I couldn't seem to find where you had gone.

The road narrowed down to a small passageway in the woods,
getting lost in the crowds of trees surrounding it.

I walked until my feet ached,
until the gravel beneath my naked toes cut ****** rock sized openings into my skin.

You were nowhere to be found,
I realized that now,
but I kept walking,
as if each step could somehow guide me to you like a compass,
pulling me in the right direction,
promising an answer.

I wanted to know where they had buried your body,
where your still decaying bones lie a clean mess inside the earth, but I couldn't find it,
I couldn't find where you had gone.

The moon had once before,
promised me a source of light,
but now,
it only provided a terrifying, crowding darkness.
I wanted to lie underneath it,
urging her out of the sky and onto me.
I wanted something heavy to plunge me underground
so I could worm myself to you,
find the body that belonged more to me than it did, you.

I just wanted you back,
and if I couldn't even have that,
than a piece of you to hold onto;
something I could look at to know you were once a living being, once a boy I loved and always will.

I walked back then,
after allowing myself the refusing will to move on.

In the impala, on an abandoned road,
I pulled your cold blanket over my own decaying body,
trying to wrap the ghost of you around me.

Pushing my nose into the wool,
I smelled the last remaining parts of you.

I closed my eyes,
not willing to imagine the small space where you should be,
vacant.

After all,
how were you supposed to wake up there with me,
when I was half gone myself?

The sun has long disappeared behind the stage
I'm inspired and sweaty and feeling my age

The amplifiers still ringing in my ears

The smell of the Tagus draws in and I take my tired frame up winding streets
The cafés are open. Piano music. Shoes on cobbles providing the beat

Sat silently listening to the late urban shuffle, people appear from narrow openings between tired, tiled buildings
Are the up late, are they up early?

It's been a long day. A day of fleeting smiles.
I think of you, and there's one more.

This one lasts.

When the warm sun, that brings
Seed-time and harvest, has returned again,
’Tis sweet to visit the still wood, where springs
      The first flower of the plain.

      I love the season well,
When forest glades are teeming with bright forms,
Nor dark and many-folded clouds foretell
      The coming-on of storms.

      From the earth’s loosened mould
The sapling draws its sustenance, and thrives;
Though stricken to the heart with winter’s cold,
      The drooping tree revives.

      The softly-warbled song
Comes from the pleasant woods, and colored wings
Glance quick in the bright sun, that moves along
      The forest openings.

      When the bright sunset fills
The silver woods with light, the green ***** throws
Its shadows in the hollows of the hills,
      And wide the upland glows.

      And when the eve is born,
In the blue lake the sky, o’er-reaching far,
Is hollowed out, and the moon dips her horn,
      And twinkles many a star.

      Inverted in the tide,
Stand the gray rocks, and trembling shadows throw,
And the fair trees look over, side by side,
      And see themselves below.

      Sweet April!—many a thought
Is wedded unto thee, as hearts are wed;
Nor shall they fail, till, to its autumn brought,
      Life’s golden fruit is shed.

The worst thing,
most insidious thing
about trauma
is that
it doesn’t matter what anyone does,
in the end,
everything is,
(must be, has to be)
your fault.

Trauma is
a voice:
you should have known,
you should have done more,
you should have stood up for yourself,
what is wrong with you,
do you want to be miserable,
why did you trust,
don’t you ever learn?

Trauma is
you watching you
watching what you do,
watching what you don’t do,
watching it all go by.

Trauma is
a voice:
do something
do something
do something.

Trauma is
screaming at a pre-taped football game,
expecting a different outcome.

Trauma is
begging the fictional character to not open the door
when there is clearly a killer waiting.

Trauma is
the hole you keep finding yourself in,
whether or not you see it,
maybe you fall in,
maybe you dive in,
it doesn’t make a difference.

Trauma is
painful -
repeated openings of the same wounds,
hitting a bruise again, again, again,
watching the colors change -
but mostly,
it’s an embarrassment.

Trauma is
a voice:
This is fine.
You can’t tell.
This is fine.
You can’t tell.
This is fine.
You can’t tell.

Trauma is
your best kept secret.

Trauma is
the kind of ****** up
that can’t be named,
can’t be explained.

Trauma is
the kind of ****** up
that is too deep to be fixed.

Trauma is
who you are.

I love the brilliant frenzied
        stillness
Earth rotating, an opaque of
        beaded matters
The buckling transfixiated
           openings of bleeding
     ground.
Blue green brown blood
    teeming with movement
disconnecting features
    rapt in water
      and other lives
  repeating, inserting
    maelstroms of
thought.

She turns on the water and tips the bottle of bubble bath. The syrup flows a slow stream out the end of the bottle and slides into the steaming liquid. The bubbles swell and fill the tub.

Returning to the stereo she picks a CD and hits play. James Blunt will be the man of the hour to serenade her in her sensuous delight. "All The Lost Souls" seems somehow fitting tonight and having felt the urgency in some of his songs and the wanton plea in others she believes him to be the perfect choice for tonight.

The cupboard is opened and she reaches for a larger than necessary wine glass, the romantic one she likes to use for a long soak, an indulgence designed solely for herself.

Striking the wooden match on the side of the box, 2 candles are lit; one for the counter and the other open flame to dazzle and dance on the edge of the tub. The glow is enough to light her way as her eyes quickly adjust. Pupils growing wider, breath growing slower, anticipation wets her.

Placing the glass of white wine in the corner edge of the tub she lets her satin robe fall to the floor. The white fabric puddles on the rich brown tile as she steps from its folds and into the soft awaiting bubbles that fill the tub to the brim. She slowly lowers herself into the billowing cushion and feels the searing heat torch her skin. She knows the heat will dissipate so she tolerates the almost too hot water in the beginning.

The bubbles are full around her womanly curves, engulfing her, tickling her skin as they break in movement. She sinks in fully, releasing a long relaxing sigh. Her eyes twinkle in the dancing candle light as it bounces off the bubbles and the shiny walls of the tub. Sipping the chilled wine her body finds relief from the hot water. Slipping it down her throat and resting the cool glass on her dampened breast.

As she slides and rolls in the water the bubbles weaken and break. The flickering flame exposes glistening skin as it is visible through the openings in the bubbled shell. A raised leg, the soft mound of a breast, the ***** of a shoulder, the curl of a lock of hair silhouette in the candle light. Knees bent she pulls herself toward the end of the tub and gently smiles as the water caresses her skin while she pushes away. She runs her hands over her body, silky from the bubble bath but her hottest parts slippery of their own accord. Wet before but more wet now.

She hears a slight sound and turns to the door. He is standing there, silently watching her. How long has he been there? What had his gaze enjoyed? Not that it isn't ultimately all his to enjoy anyway. But now that he is there she shall play out her private time to his audience. He loves how she is confident in her own sexuality, how she finds enjoyment with the body she has been given and how she freely gives it to him. It is moments like these that he could explode for her in lust but hangs on not wanting the magic to end.

He steps to the tub and hands her the glass with the last sip of wine, watching as it cools her and slides down her throat. He holds the over sized bath sheet open for her and she steps from the tub. Folding her in the soft cotton he wicks away just enough of the water to stop her from dripping. A breeze coming in the window skims her damp skin and her ******* harden, fully *****.

She is about to get ***** all over again. It's a good thing she is washable.